My name is Zhou Yuanten, but call me Eddie. I am a doctoral student at Xinjiang University –in the far, far west, but at Brunel to study this year. My English is good. I lived in Boston, Massachusetts for undergraduate years. I majored in piano at the New England C and then discovered I wanted to compose rather than play. So I go to MIT and soon I discover the English do it so differently, so I apply to Brunel. And at Brunel they then say of this place ‘you have to go.’ So here I am.

So surprising to be greeted in Chinese! And not just Nin Hao, we have a conversation! His accent is Northern Mandarin. He is writing a novel, he explains, about poets Zuo-Fen and Zuo-Si. We have 15 minutes conversation every day and I help him with his characters. Strange, to most of the class he is nobody, but to foreign students here we know him through his website and his software. I have even played his colours piece, The Goethe Triangle.

It is joy to be respected by a teacher and his sessions are like no other I’ve had here, and here I mean the UK. Oh, so laid-back, so lazy so many teachers. People lack energy here. They are dreamers and only think of themselves. He is full of energy and talks often about this Imogen of whom I never hear. Her father a great composer and she copied his music from when she was a girl – such beautiful calligraphy. Her father loved India and learned Sanskrit. He should have learned Mandarin; at least that is a living language. ‘Imo’, he says, ‘is my heroine, my mentor, the musician I most revere.’ He showed us her library and what was her studio in one of the old buildings here. He gives me this little book about her ten years in this place. A strange looking lady; there’s a photograph of her conducting Bach in the Great Hall. She looks like she is dancing.

This morning some are not here, but there are little notes on the desk with apologies perhaps. He leaves them untouched and we make chords again, and scales and arpeggios and Slonimsky’s famous melodic patterns. We write and write. He sings, we sing too. There is a horn and a cello with us today. They play and make jokes. They show us harmonics and tunings and bend our ears in new directions we do not expect. Those who complain about this course not being ‘advanced’ will eat their words; only I think some of those are not here.

As Chinese we hear sound in a different way I think. In our language tone is so important. To each word there are four tones that make meaning quite different. Chinese uses only about 400 syllables, compared to 4000 in English. So there are lots of syllables, like ****, that have multiple meanings. I tell him the story of the Lion-eating Poet, which he does not know!! I am writing this out for him, all 92 characters. Just one word **** but with four meanings – lion, ten, to make, to be. The Lion-Eating Poet in the Stone Den is the story of a poet (****) named **** who loves to eat lions (**** ****) goes to market (****) to buy ten (****) of them, takes them home to eat (****) and discovers they are made (****) of stone (****).

So I have no trouble hearing what others struggle to hear. We make pieces that are all about tone, and on a single note. Mark, the cellist, plays the opening of Lutoslawski’s Concerto – forty-two repetitions of a tenor ‘D’ a second apart. I had never heard this – a cadenza at the beginning of a concerto. Now we write a duo, on just one note. We write; they play. We are like many Mozarts trying to write only what we have already heard, making only one copy. I use the four tones and must teach the players the signs. I demonstrate and he says of the 1st tone – ‘Going to the Dentist, the 2nd – Climbing a ladder, the 3rd – ‘The Rollercoaster’, the 4th –‘Stepping on a pin’. We all do it!

And there are all these microtones. We listen to a moment of Ravel’s Bolero and pieces by Thomas Ades and Julian Anderson, then in detail (and with the score) to part of Duet for piano and orchestra by George Benjamin. This is spectral music. He is daring to introduce this – very difficult subject - this idea that a sound could be mimicked (? Is that the word – to impersonate?) by analysing it for the frequencies that make it up, and then getting instruments with similar acoustic properties to play the frequencies as pitches. So the need for microtones – goodbye equal temperament! Great in theory, difficult in practice.

This afternoon we are to study spectral composing using our computers. Until now we use our computers or smart phones to listen to extracts. He has this page of web links on his website for each session. Instead of listening through hi-fi we listen through our headphones. Better of course by far, no birds sounds or instruments playing next door. We can hear it again anytime. So there is software to download, Fourier analysis I suppose, he tries hard not to use any science or maths because there are some here who object, but they are fools. Even Bach knew of acoustics – designing the organs he played.

We finish this morning studying harmonic rhythm and this word tonality nobody seems quite able to describe. To him even the chromatic scale is tonality, and he shows in a duet for horn and cello how our ears take in tonality change. This is not about keys, but about groupings of pitches – anywhere – so a tonality can be spread across several octaves. So often, he says, composers are not aware of the tonalities they create, they don’t hear harmonic rhythm. They’re missing an opportunity! Sound can be coloured by awareness of what makes up a tonality. So understanding spectral music must help towards this. It is very liberating all this. If we take sound as a starting point rather than a system we can go anywhere.

Yesterday he asked me about a book he is reading. Did I know it? A Concise Chinese-English Dictionary for Lovers by Xiaolu Guo. Of course I know this very funny book. He said he liked to think of music in the same way the character of the Chinese girl Z thinks about love.

“Love,” this English word: like other English words it has a tense. “Loved”, or “will love”, or “have loved.” All these specific tenses mean Love is time-limited thing. Not infinite. It only exists in particular period of time. In Chinese, Love is ài in pinyin. It has no tense. No past and future. Love in Chinese means a being, a situation, a circumstance. Love is existence, holding past and future.

And so it is with music. Music is a being, a situation, a circumstance. It holds past and future. It is wondrous, just like love.

Heartstone is a reflection in music on a ‘lost’ poem. The poem described in its two short verses a summer’s day, a landscape, a fossil found and placed in the palm of a child’s hand. The poem inspired a seven-movement work for wind, brass and percussion with solo piano. Here is its poetic programme note.

Chert

The piano draws an arc of rhythm
rising then falling.
Above
two choirs of wind and brass
exclaim, fanfare, mark out
shorter, determined
gestures of sound.

The procession, almost a march,
becomes a dance.
Alone
Two choirs of wind and brass
become four couples
whose music weaves
from complexity a simplicity:
Chromatic to Pentatonic
twelve becoming five.

Prase

Four stopped horns,
five extended tonalities.
Together they wander
a maze of Pentatonic paths;
alone, and in pairs, as a quartet
they discover within
a measured harmonic rhythm.
Tension: resolution

. . . and surrounding
their every move
the piano
insists an obligato,
a continuum of phrases,
absorbing into itself
the warp and weft of horn tone.

Sard

Oscillating
in perpetual motion
the full ensemble
occupies a frame
of time and space.

Flutes, reeds,
double-reeds
brass, piano,
percussion
mirror-fold on mirror-fold
layer upon layer
overlapping.

Yarns of threaded sound.

Tuff

Without a break
the mirrored oscillations
patter pentatonics
on tuned percussion
of marimba and vibraphone

whilst
a *batterie of drums
lays down
shards of beaten rhythm
against this onward
folding of tonality change.

In the background
a choir of winds
flutes and single reeds
waymark this recursive journey
gathering together
cadential moments and the
necessary pause for breath.

Marl

Relentlessly, the motion is sustained,
piano-driven,
a syncopated continuo,
rhythm-sectioned
amidst layers of percussion.

Adding edge,
a choir of brass and double reeds
amplify the piano’s jagged rhythms
providing impetus for
phrases to become longer and longer,
ratching up the tension,
ever-denying closure
until the batterie
delivers
a conclusive flourish.

Paramoudra

Pulse-figures of winds.
Motific cells of brass.
Both
negotiate a stream of
fractal-shaped tonality
expanding: contracting.
A blossom of fanfares

folding into
pulsating layers
of tuned percussion,
flutes and reeds.
A dance-like episode

absorbs a chorale.
Four horns in close harmony
against the continuing dance.
A duet of differences

flows into a cascade of chords
in closed and open forms.
The piano supports
brass-flourishing figures
before a final stillness.

Heartstone

In gentle reflection
the solitary piano –
a figure in a landscape
of collapsed harmonic forms -
presents in slow procession
the essence of previous music.

Think of an imagined orchestra. But there is no resonance hereabouts, so the imagination gives next to nothing for your efforts, and even in surround-sound there’s so little to reflect the dimensions of the space your walking inhabits. Sea hardly counts, having its constant companionship with wind, and sand hills absorb the footfall. A shout dies here before the breath has left the lungs.

Listen, there is a vague twittering of wading birds flocked far out on the sand. The sea rolls and breaks a rhythmic swell into surf. There’s a little wind to rustle the ammophila and only the slight undefined noise of our bodies moving in this strip between land and sea. Nowhere here can sound be enclosed except within the self. There’s a kind of breathing going on, and much like our own, it has to be listened for with a keen attention.

There is such a confusion of shapes making detail difficult to gather in, even to focus upon, and to attempt an imagined orchestration – impossible. We’ll have to wait for the camera’s catch, its cargo to be brought to the back-lit screen. Once there it seems hardly a glimmer of what we thought we saw, what we ‘snapped’ in an instant. It’s too detached, too flat. So thankfully you sketch, and I feel the pen draw shapes into your fingers and their moving, willing hand. On your sketchbook’s page the image breathes and lives.

You can’t sketch music this way because the mark made buries itself in a network that seems to defy with its complexity any image set before you. Time’s like that. You end up with a long low pitch, pulsating; a grumbling sound rich in sliding harmonics. You see, landscape does not beget melody or even structure and form, only tiny, pebbled pockets of random sound. Here, there is no belonging of music. Only the built space can adequately house music’s home. We might ****** a few seconds of the sea’s turn and wash, a bird’s cry, the rub and clatter of boot on stone, and later bring it back to a timeline of digital audio and be ‘musical’ with it, or not.

Where we hold music to landscape is something we are told just happens to be so; it is the interpretation’s (and the interpreter’s) will and whim. It is an illusion. The Lark Ascends in a Norfolk field. We hear, but rarely see, this almost stationary bird high in the morning air. We can only imagine the lark’s eye view, but we know the story, the poem, the context, so our imagination learns to supply the rest.

What is taken then to be taken back? On this November beach, on this mild, windless afternoon,. Am I collecting, preparing, and easing the mind, un-complicating mental space, or unravelling past thoughts and former plans? I can then imagine sitting at a table, a table before a window, a window before a garden, and beyond the garden (through the window) there’s a distant vista of the sea where the sun glistens (it is early morning), and there too in the bright sky remains a vestige of a night’s drama of clouds. But today we shall not put music to picture from a camera’s contents, from any flat and lifeless image.

Instead there seem to be present thoughts alive in this ancient coastline, abandoned here the necessary industry of living, the once ceaseless business of daily life. Instead of the hand to mouth existence governed by the herring, the course strip farming below the castle, the herds of dark cattle, the possible pigs, some wandering sheep, seabirds and their eggs for the ***, the gathering of seaweed, the foraging for fuel: there is a closing down for winter because the visitors are few. We need the rest they say, to regroup, paint the ceilings, freshen up the shop, strengthen the fences, have time away from the relentlessness of accommodating and being accommodating. Only the smell of smoking the herring remains from the distant past – but now such kippering is for Fortnums.

We step out across and down and up the coastal strip: an afternoon and its following morning;  a few miles walking, nothing serious, but moving here and there, taking it in, as much as we can. We fill ourselves to the brim with what’s here and now. The past is never far away: in just living memory there was a subsistence life of the herring fishers and the itinerant fisher folk who followed the herring from Aberdeen to Plymouth. Now there are empty holiday lets, retirement properties and most who live here service the visitors. Prime cattle graze, birds are reserved, caravans park next to a floodlit hotel and its gourmet restaurant. There’s even a poet here somewhere - sitting on a rock like a siren with a lovely smile.

Colours: dull greens now, wind-washed-out browns, out and above the sea confusions of grey and black stone, floating skeins of orange sands and the haunting, restless skies. Far distant into the west hills are sculpted by low-flying clouds resting in the mild air. Wind turbines step out across the middle distance, but today their sails are stationary. As the bay curves a settlement of wooden huts, painted chalets then the grey steep roofed houses of stone, grey and hard against the sea.

Does music come out of all this? What appears? What sounds? What is sounding in me? There is nothing stationary here to hang on to because even on this mild day there is constant change. Look up, around, adjust the viewpoint. There’s another highlight from the sky’s palette reflecting in the estuary water, always too various and complex to remember.

Music comes out of nothing but what you build it upon. It holds the potential for going beyond arrangements of notes. Pieces become buildings, layers in thought. My only landscape music to date begins with a formal processional, a march, and a gradually broadening out of tonality the close-knit chromatic to the open-eared pentatonic. There’s a steady stream of pitches that do not repeat or recur or return on themselves, as so much music needs to do to appease our memory.

In this landscape there seem only sharp points of dissonance. I hear lonely, disembodied pitches, uncomfortable sounds that are pinned to the past. The land, its topography as a score grasping the exterior, lies in multi-dimensional space, sound in being, a joining of points where there is no correlation. There’s a map and directions and a flow of time: it starts here and ends there, and so little remains for the memory.

Yet, this location remains. We walked it and saw it fortunately for a brief time in an uninhabited state. We were alone with it. We looked at this land as it meets the sea, and I saw it as a map on which to place complexes of sound, intensities even,. But how to meet the musical utterance that claims connection? It is a layering of complexes between silences, between the steady step, the stop and view. There is perhaps a hierarchy of landscape objects: the curve of the bay, the sandhills’ sweep, the layerings of sand, and in the pools and channels of this slight river that divides this beach flocks of birds.

Music is such an intense structure, so bound together, invested with proportions so exact and yet weighed down by tone, the sounding, vibrating string, the column of air broken by the valve and key, the attack and release of the hammered string. But there is also the voice, and voices are able to sound and carry their own resonance . . .

. . . and he realised that was where these long drawn out thoughts, this short diary of reflection, had been leading. He would sit quietly in contemplation of it all and work towards a web of words. He would let their rhythms and sounds come together in a map, as a map of their precious, shared time moving between the land and the sea, the sea and the land.

first I smell myself.

the deep bass tonality of my musk,
hot, creamy, sweetness unique, of coffee and creamy,
my owned sweat oiled secretions massaged into her skin
emplaced by vigorous parts rubbing and tongue caressing,
under the fading shadows of my glancing, desirous admirings


then I smell herself.

sinking sunset glimpses of last nights parfume parfait,
scattered in random strategic locations architecturally planned,
some flavors come over me like modest waves,
others spelunking found in crevices, cracks and caves,
where humans tread in guileless search of guiltless pleasure

then I smell our sharings.

lemon and thyme, paprika, sea salt and pepper,
a basted rub laid upon animal skin consuming, and consumed,
the vinaigrette balsamic and California yellow raisins, pine nuts,
decorating leaves of red soil spinach and spicy arugula,
word salads, so miraculously ingenious, you swear off eating flesh

then I smell our combinations.

the air conditioned atmosphere that blends us properly chilled,
the olive oils pressed from two colored differing skins,
the mortal and pestle finely grinding our own fresh crumbled dirt,
appearing in places where dirt is wet panko crumbs encrusting us,
our combined liquidity, shaken and stirred, drying in martini tandem

it is 8:17am and this recipe of reciprocity,
at its most pungent peaking,
for soon raining waterfalls of potable city water
and the sophistry of French soap,
the pseudoscience of modern chemical shampoo,
together erasing, scrubbing away this poems aromatherapy tapestry,
your perplexed complexing nostrils will mock you once more,
for ever disbelieving, thinking you could no longer write of
only love poetry that crested high above the trite


Friday, March 29 2019

Near, near are my lucid dreams.
Sultry sleep, augmenting realty
Today, nothing will be as it seems.

Flashes of translucent, magnified beams,
Lighting lingers in treacherous tonality
Near, near are my lucid dreams.

The water flows in upside-down streams,
Rivers rage in confused commonalities
Today, nothing will be as it seems.

The mechanic roar of howling screams,
Shrapnel shrieking in utter infinities.
Near, near are my lucid dreams.

Pulleys construct convoluted schemes
While pollution parades in notorious normality
Today, nothing will be as it seems.

Awake. I go forth, my mind again seamed.
Awake. I go back, into a world of formality.
Near, near are my lucid dreams
Today, nothing will be as it seems.

(This poem was discovered etched/burnt into the interior woodwork of a viking ship of around 800AD, discovered in the north of England in the '60s. Quite possibly from the northernmost islands around the area now referred to as Archangel, and originally written in what became known as Runic/Russo Scandinavian, it nevertheless resonates clear Saxon/German tonality. Given that it is one of the first examples of early Runic, and indeed that the actual letter-shapes are unclear, the poem has been reproduced below, using broad phonetic license.

As far as can be determined, the content appears to be a somewhat ribald message from the ships leader to his wife. It was not uncommon for women/wives to accompany their men folk on long voyages. Given cramped conditions aboard, the conditions were likely to be insanitary and it is this condition that informs the subject).  WJL

Das andrs zu-almen su-cara
Archezum des hafta confagra
Der ecra zu alpe
En pecra nachte schalpe
Viel ondra der zulpa te bag-ra

Und zortem pur ordour cloabera
Eh-min-te ah solbra schactarar
Sul-phereth zum tinctum
Abroath ah den penk-tum
Bai anthe con anthe ebactah-ra

Zorbuhr genkst canke zer vilk-um
Solginster zep ecra der nep-ehlcome
Calmen-de ser paarte
Eh zin bah die faarte
Confide ah can-de zum schtinc-tulm

Of immaterial vision birthed in mind.
Of spirit annihilating the selves,
of calling it plan. The one-
a semblance scattered on deck space
refracts on reflections of the reactions of tokens
of the carnivalesque,
of the hunger artists,
of phenomenon-
which may or may not exist depending on reflective surface of the true self,
of the motion of tides,
mocks motion in body,
of obsession.
The tonality of the "be" and the "is" and the "will be" is deafened by the "I am,"
by the Ohm.

Of shuddering and implanting embraces,
of blessing on every ember of cleanliness that is true self,
of the oneself that exists above selective memory,
not draft of time arrow but the material existence of dream,
not disembodied but embodied.
Of breeding,
of circumstance and forking fourth dimension prison terms,
of crowd control,
of she wolves and their feral children,
of forceps interpolating material reality of conception,
of Dreamtime,
of pain,
of pleasure,
where they are relations-
of skin perversely hanging, dually,
gratifying and sullying-
Fraying beautiful disasters that react to invisible ripples

I, the oneself, implore you to awaken in your utility and then outside of it.
Take those boot straps and bend the bars of confinement with them.
Chisel and sculpt light into a fabrication of quantum of action.
Celebrate the ordinary and expose it.

Of stargazed caustics,
of the early universe.
I stand awake as not the expression of design
and no longer connected to Earth by my roots
but awake inside cocoon,
entrapped behind slits,
of alien cage otherness.
The Akh beseeches ownership of the Ba
I want play dice with god and end in draw.
I am Sekhmet-Wadjet who dwells in the west of heaven,
I am Sahyt among the souls of Of.

~
In her sulking-place
alone and naked

framed in soft sepia
—the vintage, harlequin hue

at this supposed faded hour
she sits looking back on memory

she sits and stares
into the boudoir mirror

at herself
at her embonpoint

yes, at these *******
—at their landscape

how they fall
(like Niagara)

where they point
(like a compass)

what they tell (so fondly)
when pressed together

about their time
—their work and play

towers on the precipice
of judgment

both callous and
uncharitable

if the mirror
truly be her reflection

her vision is turned around
as illusion

—a study of tonality and tolerance
for one's own flesh

the room
an invitation

or perhaps
a lockaway

where she even keeps secrets
from herself
~

It is so measured that rising arpeggio, only to fall and rise again in quicker values, through the dominant seventh to the heartache moment of that minor ninth, a very apogee of dissonance. Then it goes higher still to the fifth, holding to that Phrygian harmony before returning to the tonic minor and a measured fall in the bass. This is a deliberate descent to the sub-mediant, and Bach’s touch of magic, the equivalence with the dominant minor ninth. But then he gives us hope: an extended and joyful play through sequences that rise and fall within each bar, to rest finally on the mediant’s echo of that opening, that measured rise and the quickening fall. We have hardly smiled with relief when Bach pulls us back into the insecurity of the dominant of the subdominant, that V of IV acting like a bridge to a long, long discourse in the dominant, a pedal E holding firmly to itself whilst rising arpeggios and falling decorations and sequences pull and pull through innocently related keys. Longer and longer play the rising passages until short motives of imitation interrupt, treble to bass, tenor to alto, until:  a first inversion arpeggio of the dominant seventh measures out the opening rhythm. This happens twice in short succession, as though holding the progress of the music to account. A questioning perhaps before a four-fold sequence asserts the dominant and a chorded caesura. There is a pregnant, though faintly resonant silence as Bach spins the dice of tonality and chooses the subdominant to bring the music towards a waiting Allemande. The music moves through a play of subdominant to dominant, minor to major, the mix of flattened fifth and flattened ninth. It is those intervals that determine Bach as the father of ambiguity in the 20C school of jazz harmony, Arpeggio then a falling scale, and repeat and repeat again, but moving ever higher by sequence. At last five chords – merely a shorthand for closure via the expectation of a right display of the performer’s improvisatory prowess. They prepare us reverently for the tonic minor before the stately Allemande leads the music into the elegant steps of its walking dance.

Without the souls of Trouvere, will he aspire to spheres from where he can replicate himself in the ductile state of the ceremonious Energeia...? The naive action is univocal as the first practice modulated in inclinations and lexical motricities, where they die within their fears, failing to hope and convalesce their desecrated wounds congruent in concepts of Energeia, as an arbitrary neologism to move what in itself is not self- scrollable. Vernarth after witnessing Stratonice's intermission decides to run barefoot for those who banish needs on the parental scale of his range. Succeeded by the need of Energeia towards the impudent sense of being enraptured in possibilities, and supernatural substantialities that transported him in the Epistle even to his desiring hands, but in natural causes, and kinetic emotionality in the destiny of the principles of a movement that dialogues by a spinning spin; alembicated in particles of displacement time eccentricity, towards itself in the synonymous statics, providing intrinsic angles to be associated with the rotation of time and Epistolary demands so that the quantum light can relate the energetic spiritual emotionality, with the own dissociated relationship in the spaces of appearance; where it is to be believed that there is a moment of bias provided in the emotional-movement rooted in linear memories of the temporality of the Hellenic mental axis. Everything is proper in the coordinates of the speculating, which is adduced and duplicated in Poielípsis or unveiled generation of relativistic emotions. For this reason, Vernarth naughty importunates this metaphysical precognition, alluding to particles that generate dissimilar inclinations in lapses until reaching the threshold from when Stratonice partially divided its material and spiritual origin into stationary diversity, in meditated phases that will not take place nuclear, but in the polymathy of its exteriorized threshold, and of the emotional mass of its free and passionate matter that concerns its strident and impalpable Macedonian origin.

From this moment on, the intuition corresponds to the angular reinforcement of "Poielípsis", in this way the coordinate of the Souls of Trouvere becomes present, as pseudo images of the Diadochi, involving magnetized radial movements that will lie in the spheres of physical value., in the garb of the Gerakis and Petrobus, who strived in the sense of the energeia of the Epsilon neologism, not to restrict themselves as Aristotle affirms, investigating the being towards a mono-sense in this causal, of such alpha that it says the paradoxical, demonstrating the diversity of optics. Faced with this diatribe Vernarth from the naturalness decides to empower Souls that are part of both topics according to Vernarth, it is to alleviate the potentialities of the acts that apprehend the light of genius that coexists with both. What the entity justified us in unfolding will be delivered by divine intelligence, so as not to reduce the free power of the Epsilon that was extracted in the welcoming presence of Stratonice still withdrawn in the atmosphere of the Voielípsis (substitute scale of relativistic emotions of Vernarth). There are few seconds that can be extended more from a selective argument of trends in the specifications, which could be attributed to dimensions of the Trouvere period of souls, lacking stillness in simulated biological environments, as if they deliberate the naturalness of an expression of who It does not philosophize if something has to detach itself or grab hold of creation to privilege the natural, re-arguing affection when professing, if there is time to express it, so it is intuited what the virtue of muttering simultaneously in the laborious, and in what does not progress. The dynamics of this Poielípsis is to dress the Voielípsis, as an analogous addition of quantum causality and of temporal and timeless Christianity, since it supports a conjugate mix deified by Saint Thomas Aquinas, heading towards the prop in the mega absorption of Christian Aristotelian ideals. The souls of Trouvere will be residents of the indeterminate spiritual mechanics, to deposit effects of the incredulous versatility in themselves, in the sub-aquatic depths that coexist with the geological structure of the cavern of San Juan Apóstol, but in subterranean concomitance, under the same axial coordinate that is sustained sub-geological. Namely; They will coexist as long as the Mandragoron of the Duoverso and its Voielípsis are established, but three hundred and eight meters from its antipode in the underwater base of the Profitis Ilias.

The antithetical line is the verifiable germinability of those vertical events of the plinth settled by the Souls of Trouvere, containing the germinable starch of the growth of the ergonometric stirrup of the Zefian Bolt, which from zero elevation to 308 meters above the Aegean level will form a mega extra parapsychological bilocation, which will be gestated in its uniform vertical chronological numbering, with the pre-Christian Pythagorean and post-Christian representation in the coronation of Carlo Magno, mentioned in royal visions by the Apostle Santiago, in the versant apology of Pythagoras as an entity supra divine, envisioning the scenographic depository, and fragmentability of these three components of this start of the Hellenic Magna in the hydrographic, sub-terrestrial geological and residential basin of the Souls of Trouvere.
The upholstery of the Pythia of Herófila attacks the subtended of the flying buttress that supported the volcanic cavities of the Sub-Patmos, indicating its agreement with the Souls of Trouvere by its disoriented cognitive dissonance, generating paradigms that traced stones that formulated Aquarian sounds, in a dominant tonality by the minuscule machine of light, more distant from the incommensurability that escaped eclipsed in the resplendent major note that becomes monarchical by the hypotenuse of a rectangle in three subdominant angles. This brings about the thaumaturgy of Pythiais, the mother of Pythagoras who, together with Vernarth's Poielípsis, forge retentive songs given the scarce natural light that was only born from some of Trouvere's souls called Poielípsis, in stories of the oracular Delphians. The Poielípsis remains encapsulated from the thaumaturgy of the banal anti-desires that would make it mortal, for a hypotenuse that makes the gift of poetic prayer tangible, prompting the Bio axiom, by fertilizing scaled suspicions of repeated mortality in the banner of risk. Stratonice well points it out:

“The signal field has been prophesied today for the Apollo tripod. Having to reencause itself in three parts of the support of the oracles, and in clairvoyance in the pre and post Christian insemination of the gift of the word that redeems man from sin, sub-tenant of the flying buttress, from the interface of the supra trinity of sin as a blood element, and difficult to evade or avoid. Here the Hegemonic energy of Alexander the Great has been condensed in the arch of ideas, pointing out that the diseased body of Antiochus; my father…, is supplanted by that of the to happen all the trances and difficulties that are assumed after the hazardous departure in Babylon. Therefore he has to bring all the corollary prophesied in the death of my grandfather Seleucus in the hands of Ptolemy Ceraunos. Wanting to dress up the irrevocable interference that occurred in Judah by his Diadocos gangs, opting for the effect of his offspring, therefore on his spiritual stretch of energetic residual and static mass, ad libitum that will end when unleashed in his son. All will already be consumed in the pathogenic body of Antiochus, and of the love for my mother where she was abducted, and possessed she sees by retaliation from Alexander the Great for proven insubordinate ethical demands. "

Stratonice walks with the sendal that should be translucent by Santiago of Compostela. As an intra-everlasting geometric raconto, subduing fears that slide through the sendal of the dogma of the architrave, where no philosophy can look higher if it is not allowed, typical of vegetarianism or freedoms that turn green in fears that do not illuminate life. eternal, perhaps from the same Matematikoi who doubts a basis for Adfinitas, to understand limitless limits, taking Pythagoras to the soil of Crotona. Always, someone who is ignored of the linguistic power, he plans to rewind spheres that still weave crossed angles, placing himself in scores to consider as an irreplaceable past. The soul of Poielípsis adopted a Pythagorean conception, in the halters of the livid legions of Orpheus, as if it were his consecrated hypogeum where the high position was, to stir to the embankment where it will merge with the Zefian arrow. This liquefaction should purify all storage of cognitive and circumscribes of those ancestral, becoming reincarnable pre-Christians, who transmigrate in the need of osmosis of universal unity. Atonal music will transmigrate molecules to great sidereal distances, being the same replica of the other eurythmic, in multi-trigonometric periods, vivifying the fractional number residues as souls of the same numeral that finally perish of Pythagorean digits, perhaps at the angles of the Phalanxes of Vernarth or in the oblique crucial moment that slumbers in an elegy, flourishing in those beings that do not Live...! Already under-treated, they will only be souls tired of keeping themselves alive and deprived of their morbidity, in a dissociated cause of immortality that will distance itself from the forbidden abstinences, in liberating exercises of any count that ponders in the coming etymology of the Vita Pythagorae, on the divan of the joys of serving his doctrine, which saves himself, and which will save the Messiah, for those who in the soul have no sacrifice of a lamb that grazes..., nor on the pedestal that goes ahead in the centuries..., pasturing what nobody was capable of ?. The second triad of the oracle of Apollo of the Souls of Trouvere reveal Charles the Great, favored by the Apostle Santiago for the protectorate of Compostela and its spiritual regency, invited Charlemagne from Aachen, in 33 consecutive years of dispute with swords, stating that the Saxons never complied with the treaties and signed surrenders. Charlemagne placed himself at the head of his army on several occasions to fight with his sword against the Saxon danger, also entrusting the troops to the counts when other matters required his presence.

In the second segment of the concave wasteland of the straight ascendant of Trouvere, he crowned Charlemagne emperor of Rome and the Franks, predicted by the Apostle James, in defensive papal struggles and in defense of Christianity. In this paradigm it appears how they are transmitted from the dead ungraspable world, they unite here in the axon of Poielípsis for the sake of the times that occur due to the anonymity of a silence that augured to link, and to know within what the endless intrinsically organic movement is, as well as the biological cosmos in the discovery of the Jacobean route. In what better region than the Dodecanese, he will be fused by twelve apostles, and now the brother of the son of Zebedee; Santiago brother of Saint John the Apostle. Dating back to 778 AD, spreading to Hispania. In the ****** and constant fight against the Saxons, Carlo Magno, entered Hispania crossing the Pyrenees, as a preview of the aforementioned Jacobean Route, everything raged witnessing their overwhelmed squares in the fueros of the Trouveres, who were Pythagorean elite soldiers, who had been bilocated in this post was Christian, preceded by the perfidious Basque in the forests, subsisting separated right here from the progenitors of the Trouvers, who claimed to be the strongest to continue them to Pamplona with Charlemagne. All escaped from Islam, and not a few Christians resented this affront, the dynamics will be reflected in the Songs of the French Gesta, to enter the Jacobean Route on the way to Santiago de Compostela, when the Calixtino Codex, in its book IV o Historia Turpini, the apparition of the Apostle Santiago to Charlemagne is told in dreams, pointing to the Milky Way as a way to find his tomb, which must free them from the Saracens to be able to venerate their relics with the enamels and medallions that they issued in the Apostle's crypt in Compostela. The souls of Trouvere, are beings that enjoyed a short life in the Pyrenees, they enjoyed the fortune of originating a liberator of post-Christian inheritances, mechanized by the exquisite citation of Pythagorean antiquity, behind indigo faded in red blood cells, to dress the sendal of the figure of Faith, freed behind those who should have dressed her as a Codex Calixtinus.

Five sections rose along the straight line of the Trouvere pyramidal axon, the base of the liturgical appendix that honors the multidimensional space, with antiphons for the cult of Carlo Magno on the underlying Patmos. Santiago was lacerated in the Holy Land far from his Brother Apostle Saint John, but he came to meet with the Trouveres who came from the rugged Pyrenees. Santiago passed the Strait of Gibraltar and reached Padrón, which is about 20 kilometers west of Santiago de Compostela; there some angels took him to the place where he actively rests. In a boat he arrived..., and always by the Mediterranean he will now reach Patmos, still acquiring the iconography that attempts to find Charlemagne, and a codex that would unite pre-Christians like Pythagoras and Aristotle united in the relic of the taxpayers transformed into three maritime rivers, concerned with a predicted belligerent episode, to say that all roads lead to Patmos, like Locus Sanctus, of all the shepherds who heal their sheep in which they are not of others that are populated with souls white, for the good of others. Thus the souls of Trouvere from the Pyrenees revealed themselves as predecessors of the raiding of the shells 308 meters below the Profitis Ilias, in agreement with Stratonice who would be arriving in Macedonia, where the passing of the centuries would tell him about the Jacobean Route instructed in confronts, and concordances with the airones of the Trouvere, protected by a rectangle in three subdominant Pythagorean angles in the dissipated darkness of the golden indigo of Theoskepasti, in the meridian of Kímolos.

Why is the primal
question.

This was written one
week primary
to the real
encounter:

Language difference
enables my poignant
ponderings to
hide among
pink puffy tonality
of your beloved
mother's tongue. To
dwelve smooth and
constructively
conducted within
your howlin'
domesticated
vowels. I so
become wonder
writer smitten
softly,
touched
by pleasant words
of other writers.
Not suffering.
As I do
in my
original
vaccinity
of no
distance.
Clouds and thunder
collapse into my
deepest core. Tearing
me there at non
acceptance. I tear my
poems. And throw them
into the abyss. Of no re
turnin'.

the instant, the instance, is that your body?

the clear cleansing storefront windows
ask for clarification.

is that your body, presently?
is that your body presentably?

just in that secular instant, again, over,
the body’s inquisition clarifies, asking,
requesting in a babel of foreign languages,

repeat after me!

each window pane that follows repeats the query,
the themes in each, tiny variations,
the variables of rhythm, timbre, harmony,
engine timing minute minutiae alterations,
in that passing milli-instant,
each a separate instance for each separate pane.

in every instance.   in every language.

the accusations tonality oscillates in wavelength pitch.
quest nonetheless similar,
     is that your body?

all the replies are mirrored reciprocal.
that was my past.
this my present.
the next, a future vision.

the here, the now, all of it, each a flashcard.

the insistence!

when your body falls finally upon
the sidewalks concrete filthy city Persian tapestry,
the shameful answer tastes always the same.

always the same.

Summary of Today*

PREFACE
An artist of most kinds can concur
the imperial dynasty of ruling
with Absolute Control of the medium from a higher mind
Tapped in vessel flows the beauty of free form
I like this vantage point over my domain
Here I prefer to remain, power of my dominion
dominates through me to give ordered direction to my artistry

SYNOPSIS
I wonder what undercurrent pulled me to write with such Tonality
It appeared to be centered in the Theme of Revolutionary Rebellion
some kind of Helter Skelter Warning with Sincere Stance boldly stating
my Position in the light of things to come, coming, arrived and waiting

ADDITIONAL NOTES*
I have recently reclaimed my power of authority over my body
Body and Mind being facets of the same Gemstone that is me.
I had been in a being state, a child feeling, for a period, not quite able for autonomous activity
I studied closely, learning about this being, but recently have claimed Adult Control
I believe today was a loud coming out party for my Adult, in Control, Ready
Values in Check, Convictions in Check, Energy in Check, Child snugged in tight,
Protected she will come along and see what her future self is all about
...And it will be Good.

I sit at my computer

And stare at the screen

Enveloped in the monotonous repetitions running through my head

Words of doubt and fear

And sometimes joy

All in a single tonality
Leaving my emotions meaningless

safe & sound in sounds beloved


<>

in a chalk dust soft whisper, barely bit more than an
eyelash fluttering tonality, she requested her playlist,
favoritism shown, partial to certain poems, poet,
safety in the sounds of familiarity, melded into verses and poems

“works,” how she nat/notated them, smiling,
for they were not works, but labors, safe sounds,
on a palette synthesized from emotive words coloring all of
her drumming, thrumming skin beating, eyes singing,
lips tingle reverberating, echoing my weeping

I read her the collected, the sure ones, made to eye-tear, her lips,
pleasure poutiest before turning corners upward,
in a haven’t-smiled-for-awhile,
a plush blush so pale red, pores of pavé chips of rubies glistening
each in a tearful diamond setting

one more stanza to remember, mark the page, the collective
of this moment,
what shall we call it, this essence of timing of
lifetimes glory glorious;
a hallelujah crossover, suggested, hints of death after life, no,
I nod, no, vociferously
gifting it to her as a quiet,
safe and sound,
safe in sounds beloved, words, beloved,

beloved for being loved and she, beloved


10/08/19
nyc
early morning

Suddenly the humble
There is one eye again
Smears
Smoothly down and quick
Spaced
The silent teeth
Graveyard slabs
All scared to white
Bright full-moon night
Glaring like a naked bone
Water taps and drips
Shaped so perfectly cold
This bleakest of light
Casting long and sharp and deep
The wailing pathetic
Are silver shards of shapes
The graveyard owl screeches
This must be someone's dream

Nowhere to go
Still strong currents pull
The places of despair
Towards and away
The tonality of moods
Warming layers
Blending with the background
It's nobody's business

A sigh that trembles
Lives balancing on whims
And then a silver-grey sky
Soaring on a song
The grace of an artless child
Smiles your eyes to smiles
The crystal tumbling stream
hallucinations of diamond water
The endless beginning
Sliding on rolling moments
Changing even truth
Even truth

                By Phil Roberts

There is a wound that sits behind the eye
Triad tonality, a fearsome sigh
Plucks a ****** chord
Lyric’d by the word “why?”
Acid fingers grin in lust
Anticipating another ****** into the belly
Of time gone by
Hot skin taut and merely waiting
For suicides to release their hands
In the chain their concert makes
Eternities in some hellish waste lived in only seconds.
How strong the forces are!
So steep a severing blow!
Still fresh a carrion scar, festering miles still to go
To beset the pinkest eves
This blade of regret
Within a greater narrative,
Tiny little vignettes
Armed in fashion of drunken odes
Those promises sworn to keep
Accompanied by such pathos woes
Accoutered, finally, in weep.
Brandished when it’s not so fresh:
This minor paring of my flesh
Gleaming in the summer laughs
To caterwaul my gaff, or plural if you like
The humor undercuts enormity
Or screams on shafts in biting breezes
This lived-in clime
I, this prey, displeases.
Unsheathed, the memories, in jovial acts of war
Besiege, beleaguer, the since-immured
True blood and guts long-since obscured
By friendliness, camaraderie
Intentions jester-pure
Trick suppressing-shields raised, jaundiced wills will not deflect
No blade or arrow of regret.

Suddenly the humble
There is one eye again
Smears
Smoothly down and quick
Spaced
The silent teeth
Graveyard slabs
All scared to white
Bright full-moon night
Glaring like a naked bone
Water taps and drips
Shaped so perfectly cold
This bleakest of light
Casting long and sharp and deep
The wailing pathetic
Are silver shards of shapes
The graveyard owl screeches
This must be someone's dream

Nowhere to go
Still strong currents pull
The places of despair
Towards and away
The tonality of moods
Warming layers
Blending with the background
It's nobody's business

A sigh that trembles
Lives balancing on whims
And then a silver-grey sky
Soaring on a song
The grace of an artless child
Smiles your eyes to smiles
The crystal tumbling stream
hallucinations of diamond water
The endless beginning
Sliding on rolling moments
Changing even truth
Even truth

                By Phil Roberts

you scare me, a hidden gem
i am afraid of what could happen

i wonder where you walk and i wonder what you think

has the cross corrupted you
who has turned you so cold

i will be there when you get your wings
and the soothing echo of those classical sounds will pass

into a new choir of faith and acceptance
maybe then when all becomes bright, i will see your eyes
for what they truly are

a black ocean with enough depth to deceive me
into thinking i am only stepping into a shallow pool

a bitter tongue with the tonality of an angel
you can rest your voice as the tears take over

dómine fili unigénite, iesu christe,
dómine deus, agnus dei, fílius patris,
qui tollis peccáta mundi, miserére nobis;
qui tollis peccáta mundi, súscipe deprecatiónem nostram

i will be with you until you find yourself

if you are lost

i will be lost with you

Suddenly the humble
There is one eye again
Smears
Smoothly down and quick
Spaced
The silent teeth
Graveyard slabs
All scared to white
Bright full-moon night
Glaring like a naked bone
Water taps and drips
Shaped so perfectly cold
This bleakest of light
Casting long and sharp and deep
The wailing pathetic
Are silver shards of shapes
The graveyard owl screeches
This must be someone's dream

Nowhere to go
Still strong currents pull
The places of despair
Towards and away
The tonality of moods
Warming layers
Blending with the background
It's nobody's business

A sigh that trembles
Lives balancing on whims
And then a silver-grey sky
Soaring on a song
The grace of an artless child
Smiles your eyes to smiles
The crystal tumbling stream
hallucinations of diamond water
The endless beginning
Sliding on rolling moments
Changing even truth
Even truth

                By Phil Roberts

What was over there
         was something complete;                    
                               ambi­guous
tonality
                               in contrary,
mayhem.
         This is what I told you
malleable—fortitude

It's been months since I've last been
The water took the melody line
And destruction became the harmony
Leaving dissonance in its wake
And trees bent to play that
Minor tune
Mud rose inch after inch,
Outlining the beat of this
Soaked symphony
It's in duple meter
No scratch that, it was in triple,
The tempo was about 200 waves per minute
The screech of wood scraping
Wood had short solos
With arpeggios
And the sound of sirens and
Screaming crescendoed this
Soaked symphony
The different pitches were so ranged in tonality that people had
No chance to save the time
To pick up things they need
The splash splash splash was the
Ostenato in the background
Perhaps a pedal tone
And the drip drip drip
Made anyone who heard the piece shudder so violently
They were shivering and
Quivering
Like an arrow shot from a now
Thus the effect of the
Soaked symphony
Played in the orchestra pit of Lyons Colorado

Suddenly the humble
There is one eye again
Smears
Smoothly down and quick
Spaced
The silent teeth
Graveyard slabs
All scared to white
Bright full-moon night
Glaring like a naked bone
Water taps and drips
Shaped so perfectly cold
This bleakest of light
Casting long and sharp and deep
The wailing pathetic
Are silver shards of shapes
The graveyard owl screeches
This must be someone's dream

Nowhere to go
Still strong currents pull
The places of despair
Towards and away
The tonality of moods
Warming layers
Blending with the background
It's nobody's business

A sigh that trembles
Lives balancing on whims
And then a silver-grey sky
Soaring on a song
The grace of an artless child
Smiles your eyes to smiles
The crystal tumbling stream
hallucinations of diamond water
The endless beginning
Sliding on rolling moments
Changing even truth
Even truth

                By Phil Roberts

How is it possible?
That in your eyes...
I have found,
that my music Resonates
As hard,
As the shining of the stars.

Never a human show me
That music can be found
In the warm of mortal arms.
Melodies fly over the skies
When I think, on those eyes.

Now, that the light is just white...
My music has no life,
You took the colors apart.

I can not decorate
The rhythm of your lips.
They faded
and,
I can not paint them.

I can not hold
those hands anymore
Indicating the tempo.
So, I will go find you.

The world that is below
Does not scare me at all
The smell of your dry tears
Is singing me to where I should be.

After I finish my last piece,
I will trust in my ears
and, I will bring you with me.
So, we both shall compose,
The greatest symphony of love.

I have figured out
that If I play this twelve row.  
The doors of the underworld
will open, so I won’t feel this cold.

Every night after you closed your eyes...
I have been dreaming with:
dramatic purple
Melodies.
   Sophisticated
      Rhythms.
And
Lyrics that…
Try to convince me
To forget
Your turquoise smell.  
It feels like a dream
but it is so real that
It feels like my music
Now is complete
Without your breath.  

Now, I’m here…
it seems like nowhere
Absence of presence
NO tonality
ambiguous personality
Kind of
I’m liking this place…

I see you precious as the last sky that I see in my dreams every sleep,

I take out The purple melody

And I play an elegant transcription of the symphony of my dreams…

You look at me and smile

So we both will be apart…

I will bring you alive...
with my next chorale.
With a Symphony
for 300 hundred souls.
I WILL BRING YOU ALIVE
WITH AN ETERNAL RHYTHM
Every morning, Every dream,
where there is a note
you are with me.

Suddenly the humble
There is one eye again
Smears
Smoothly down and quick
Spaced
The silent teeth
Graveyard slabs
All scared to white
Bright full-moon night
Glaring like a naked bone
Water taps and drips
Shaped so perfectly cold
This bleakest of light
Casting long and sharp and deep
The wailing pathetic
Are silver shards of shapes
The graveyard owl screeches
This must be someone's dream

Nowhere to go
Still strong currents pull
The places of despair
Towards and away
The tonality of moods
Warming layers
Blending with the background
It's nobody's business

A sigh that trembles
Lives balancing on whims
And then a silver-grey sky
Soaring on a song
The grace of an artless child
Smiles your eyes to smiles
The crystal tumbling stream
hallucinations of diamond water
The endless beginning
Sliding on rolling moments
Changing even truth
Even truth

                By Phil Roberts

Explain Krieg und Krise.  Remember Nanjing.  Hand twist nasturtium, trim Elijah in no other language but your own.  Delicious, decked against scurvy despite punishing days world unwraps, made available to voracity, where would you build, on what day?  Perfection unable to sit still comes towards ambush as peasant night squeaks to the border.  Chanticleer in linear e phlox stammers discretely, hammers combination, blends tonality.  Gravid as brook trout, orangerie cascades kanji.  Bucolic spasm shimmering, weeping runes a la Giverny become Cycladic, veers off color’s lambent arsenal.  Caustic repeats, Gatling interferes, hope bails, song recants.  A Zebedee in Flemish hue cracks *** luck, lets out gurgle.  But in good fortune, peaches to daisies, Abigail to titmouse, family is raised.