3

3

http://lounge.espdisk.com/archives/835 (best for listening)

http://espdisk.com/alansondheim/comecloser.mp3 (Azure voice, oud)
http://espdisk.com/alansondheim/oudsolo.mp3 (short, oud)
http://espdisk.com/alansondheim/constant.mp3 (long, sarangi)

Orrmm

Orrmm

http://www.alansondheim.org/mmymmeatt.mp4

1. My wworrkk iss a cconnttinnuouss mmeddittattionn onn pprracctticcall
anndd tthheorretticcall issssuess; ppieccess arre ddrrawwnn ffrromm itt
onnlly wwhhenn nneccessssarry. I ddonn'tt tthhinnkk inn tterrmmss off
bbounnddarriess; mmy owwnn tthhinnkkinngg ttennddss tto wwanndderr,
mmeanndderr, ass ddoess mmy pprrodduccttionn, fforr bbetttterr orr
wworrsse. http://www.alansondheim.org/mmymmeatt0.png

2. Thhe cconnttinnuitty occccurrss wwitthhinn a pprressummedd aeggiss off
ffrreeddomm; I tthhinnkk off Orrmm'ss Orrmmullumm, wwhhicchh
rreinnvvennttedd earrlly Ennggllisshh orrtthhoggrrapphhy wwitthhoutt anny
bburreauccrratticc orr accaddemmicc ssttannddarrddss.
http://www.alansondheim.org/mmymmeatt1.png

3. I ssitt, ssttanndd, orr llie, onn orr inn mmy wworrkk.
http://www.alansondheim.org/mmymmeatt2.png

4. Wrrittinngg iss tthhe cconnssttrruccttionn off tthhe zzerrotthh
ddeggrree; itt occccuppiess nnotthhinngg, occccurrss wwitthhinn anndd
wwitthhoutt nnotthhinngg: ffllaccccidd, itt ddrrippss bblloodd anndd
ssemmenn onn tthhe ppagge. http://www.alansondheim.org/mmymmeatt3.png

5. Notthhinngg occccurrss inn orr abboutt wwrrittinngg exxccepptt a
ssurrpplluss off wwrrittinngg. Wrrittinngg iss allwwayss tthhe
wwrrittttenn. Wrrittinngg iss allwwayss ccommppllette, inntterraccttivve,
a ssttagginngg. http://www.alansondheim.org/mmymmeatt4.png

6. Iff I wwerre tto ssay tto you, Orrmm, tthhiss iss mmy llasstt
wwrrittinngg, wwoulldd itt bbe a Revvellattionn?
http://www.alansondheim.org/mmymmeatt5.png

7. Nigghhttlly, I cconnssidderr tthhesse tthhinnggss. Nigghhttlly, I
ffeell mmy ppowwerr ddrrainninngg mme, ddrrainninngg ffrromm mme,
vvorrtticcess ellssewwhherre anndd llumminnouss inn tthhe sskky. Whhatt
arre tthhesse tthhinnggss, tthhesse gghhassttss? My tthhougghhtt
abbannddonnss mmy tthhougghhtt, mmy lleggss ggallllopp tthhe mmoorrss.
Orrmm, I amm bbeddrragggglledd, bberrefftt. Orrmm, I rremmainn,
unn-ffullffilllledd, you anndd I wwillll nnott essccappe onne annotthherr,
bbutt you wwillll cconnttinnue yourr rreaddinngg, tto bbe rreadd, anndd I
- I wwillll cconnttinnue mmy wwrrittinngg, tto bbe wwrrittttenn.
http://www.alansondheim.org/mmymmeatt6.png

8. My wwrrittinngg iss tthhe wwrrittinngg off sshharrddss. My ddeatthh
hhass allrreaddy occccurrrredd. http://www.alansondheim.org/mmymmeatt7.png

9. My wwrrittinngg iss tthhe wwrrittinngg off sshharrddss.
http://www.alansondheim.org/mmymmeatt8.png been been sexuality just about
gone fecund full ............................. .....................
................. ......................... ............
........................ .........................................
............................................ ...........................
................ ...........................................
.........................................................
......................................... ......................
........................... .........................................
.............. ......................................
................................................... ..........
................. ...........................................
....................... ...............................................
............. ........................................

*/Orrmm'ss cchhieff innnnovvattionn wwass tto emmpplloy ddoubblledd
cconnssonnannttss tto sshhoww tthhatt tthhe pprrecceddinngg vvowwell iss
psshhorrtt anndd ssinngglle cconnssonnannttss wwhhenn tthhe vvowwell iss
llonngg. Forr ssyllllabblless tthhatt ennddedd inn vvowwellss, hhe ussedd
accccenntt mmarrkkss tto innddiccatte llennggtthh. - Wikkippeddia/*
http://www.alansondheim.org/mmymmeatt9.png

http://www.alansondheim.org/mmymmeatt.mp4

www.alansondheim.org

Two new songs by Azure Carter, sarangi by Alan Sondheim

MONDAY, JUNE 4, 2012

Two new songs by Azure Carter, sarangi by Alan Sondheim

Two new songs by Azure Carter, sarangi by Alan Sondheim

http://lounge.espdisk.com/archives/833 (best)
http://espdisk.com/alansondheim/wheniknowyou.mp3
http://espdisk.com/alansondheim/fever1.mp3

FRIDAY, JUNE 1, 2012

We're performing June 9th in Philadelphia!

Organ App Improvisation on ASUS Android Tablet

Organ App Improvisiation on ASUS Android Tablet

http://www.alansondheim.org/organopus1.mp3
http://www.alansondheim.org/organopus2.mp3
http://www.alansondheim.org/organopus3.mp3

raining, guzheng, sarangi

raining, guzheng, sarangi

http://lounge.espdisk.com/archives/830 (best)

http://espdisk.com/alansondheim/guzhengraining.mp3
http://espdisk.com/alansondheim/sarangiraining1.mp3
http://espdisk.com/alansondheim/sarangiraining2.mp3

(p 35)

(1) "Mommy," the boy was still crying.
(2) "Be a good boy," said the girl. "You'll be all right."
(3) She held the boy more tightly and began to sing again.
(4) After

obverse:

It snoWed hardall night.
Mitsuhito
Ant and baby are enemies.

We're performing June 9th in Philadelphia!

Fire Museum Presents: Alan Sondheim/Helena Espvall/Azure Carter Trio Dan Joseph Jesse Kudler/Barry Weisblat Duo Saturday, June 9th 8:00PM Highwire Gallery 2040 Frankford Ave Philadelphia, PA $8 Alan Sondheim, Azure Carter (Brooklyn) & Helena Espvall (Philadelphia) Trio: RECORD RELEASE SHOW! “The animists of Mari El aren’t the last pagans, not by a long shot. Cauldron is on the job, too, working the hot-stick on Ley lines from Giant’s Despair to Kingdom Come, with a backpack full of old tube equipment and spools of magnetic tape. Cauldron spins secret messages encoded in lace and tosses the achillea millefolium to see where to go next. Cauldron wants to remind you that all you see is not all there is. The margins of “things” are crawling, if you know how to look: ancient spirits, saints, faeries, fractal elves, jeweled self-dribbling basketballs, etc. etc. etc. The trick is to find your way back to an unmediated life. So take Cauldron’s hand. Ignore the fire-exit signs warning you that an alarm will sound. It won’t. Push the door open… stumble into brighter light… the untended back lot behind our shared reality… where weeds push stark flowers through cracks in the cement… once you get out there everything is so quiet, all you hear is the breezes-s-s-s… butterflies and blue lizards flit and skitter amid the rubble of forgotten thoughts… “How wonderful that you're here!” they say. “You come so rarely! We're so delighted to see you!” Cauldron deals out a three of cups: Alan Sondheim, a pioneer of mystical ear-tweak and sci-fi sonic ritual sound, chamber-improv gypsy cellist Helena Espvall, and eco-trance singer Azure Carter… thrice to thine and thrice to mine, and thrice again, to make up nine. Channeling the ghosts of Opal Whiteley and Lou Harrison, Cauldron conjures the scratch and shush of the Big Bang out of wood, wind and cat-gut. Whenever you listen to it, this album is always over too soon, just like life. Fire Museum and Tequila Sunrise Records deal out a two of pentacles: not to get all “Yankee Candle” here, but we only made 250 of these, so grab one before they melt away like chemtrails in the sunset sky." - Fred Astarte, Tequila Sunrise Records Dan Joseph (Brooklyn): Dan Joseph is a free-lance composer based in New York City. He began his career as a drummer in the vibrant punk scene of his native Washington, DC. During the late 1980s, he was active in the experimental tape music underground, producing ambient-industrial works for independent labels in the U.S. and abroad. He spent the ‘90s in California where he studied at CalArts and Mills College. His principal teachers include Pauline Oliveros, Alvin Curran and Mel Powell. Equally influential where his studies with Terry Riley during several workshops in California and Colorado. As an artist who embraces the musical multiplicity of our time, Dan works simultaneously in a variety of media and contexts, including instrumental chamber music, free improvisation, and various forms of electronica and sound art. Since the late 1990s, the hammer dulcimer has been the primary vehicle for his music. As a performer he is active with his own chamber ensemble, The Dan Joseph Ensemble, as well as in various improvisational collaborations and as an occasional soloist. He has collaborated with a variety of creative artists including Miya Masaoka, Pamela Z, Loren Dempster, JD Parran, Pauline Oliveros, India Cooke, William Winant and John Ingle. Dan Joseph’s work has been presented at Merkin Concert Hall (NYC), Diapason Gallery for Sound (NYC), Roulette (NYC), Deep Listening Space (Kingston, NY), The Kitchen (NYC) Yerba Buena Center for the Arts (SF), New Langton Arts (SF) and other venues. He has received commissions from several ensembles and performers, including Gamelan Son of Lion, the SF Sound Group, baritone Thomas Buckner, flutist Jacqueline Martelle and clarinetist Matt Ingalls. ” - bio Jesse Kudler (Philadelphia) & Barry Weisblat (Brooklyn) Duo: Jesse Kudler, born 1979, creates concrete music on the computer, composes low-tech multi-channel sound works, and improvises on cheap consumer devices: a no-name electric guitar, hand-held cassette recorders, radios and transmitters, various small junk, and pedals/electronics. In his various travels, Kudler has performed with Matt Bauder, Kyle Bruckmann, Chris Cogburn, James Coleman, Tim Feeney, Brent Gutzeit, Bonnie Jones, Jason Kahn, Mazen Kerbaj, Toshimaru Nakamura, Pauline Oliveros, Bhob Rainey, Vic Rawlings, Christine Sehnaoui, Mike Shiflet, Jason Soliday, Howard Stelzer, Christian Weber, Matt Weston, Jack Wright, Jason Zeh, and many others. Current and "recent" projects include: sound installation; a duo with Ian Fraser; solo performance; HZL, an environmental electronics duo with Tim Albro; duos with Chris Cogburn, Christian Weber, and Chandan Narayan; Benito Cereno (with Dustin Hurt, Chandan Narayan, Tim Albro, and Ian Fraser); Tweeter, a treble-intensive noise trio with Alex Nagle and Eli Litwin; and various ad hoc groupings. Kudler is the co-founder and co-Director (with Ian Fraser) of the Philadelphia Sound Forum. Barry Weisblat was born in 1975 in Brooklyn. He is a sound artist and electronic instrument builder who extensively experiments with electro-magnetic devices, solar technology, homemade and modified circuits for application in sound generation/manipulation, audio engineering and photography. Weisblat has collaborated with Margarida Garcia, Tower Recordings, Mattin, Tim Barnes and Tetuzi Akiyama, and has built instruments for Peter Kowald, Toshio Kajiwara, Manuel Mota and Matt Valentine. He has sound engineered for Erstwhile Records, Dean Roberts and Jon Gibson. - bios links at http://www.museumfire.com/events

Vietnam

Vietnam

 In 1967, three years after Ali had won the World Heavyweight
Championship, he was publicly vilified for his refusal to be conscripted
into the U.S. military, based on his religious beliefs and opposition to
the Vietnam War. Ali stated, "I ain't got no quarrel with them Viet
Cong... No Viet Cong ever called me nigger" . one of the more telling
remarks of the era. [Wikipedia]

http://www.alansondheim.org/vietnam.mp4

background: Columbo episode, early 1970s

raga

raga

on Vimeo (see below) - but the quality is much better at

http://www.alansondheim.org/raga.mp4

- and quality is critical here -stills listed at end -

http://vimeo.com/43162449
Your video, raga [vimeo.com], is available for watching.
Forward this email to your friends and family so that they can watch the
video too.
raga [vimeo.com]

raga

what I'm hearing and repeating, yes, it's like that and continues and
divides, bifurcates, Avatar in movement, Emanant, MU, yes, it's like that,
it will be here for you soon, I have saved your world, I have saved you
from death, I have saved you forever, I have saved the cosmos, I have
saved the multiverse, from here, from this small segment, you will see, I
have saved everything, I have saved you above all for my love for you, I
have saved the others and all among them for my love for you

http://www.alansondheim.org/saransl1.png
http://www.alansondheim.org/saransl2.png
http://www.alansondheim.org/saransl3.png
http://www.alansondheim.org/saransl4.png
http://www.alansondheim.org/saransl5.png

sarangi night

Hi Alan Sondheim!

Your video, sarangi night, is available for watching.

Forward this email to your friends and family so that they can watch the
video too.

sarangi night

sarangi night
http://vimeo.com/43092059

"playing sarangi, tending towards the resonance of sound, tun wood, what
might be heard, not too close to the give and take of bowing, the proper
sounding, sonic objects closer to the ongoing origination of things, this
time everything worked, the improvisation remained close to SA, meandering,
sliding through and around it, above as i can imagine a low ceiling, but one
extending forever, supporting itself with resonance */sound, resonance, it,
wood, extending/*"

LOVE,
Vimeo

original of saran

under lock and key of problematic disturbances and agreement re mature work

http://www.alansondheim.org/sarr.mov

it creates something from the beginning

it creates something from the beginning

http://www.alansondheim.org/sourcing.jpg
http://www.alansondheim.org/saran.mp4

what it creates was there and pulled down
down without a direction, pulled in
in without a direction, manifest, emergent
emergent without a source or with a source
among them or who among them or whom

or what was heard whether she knows it or not

deep and incoherent breaks actually perfected

deep and incoherent breaks actually perfected

http://www.alansondheim.org/puma1.mp4
http://www.alansondheim.org/puma2.mp4

down on unsuspecting earth; seaplumes rise from vast depths; ultraviolet
bien. Ich bien la plume du votre tanta. Mercy much. faint plume of smoke
would have been visible from the computer, if only Nous sont tres fatiguee
sur le pont avec la plume de ma tant. earthquake because we've spoken
through alarms in dark Clara night, plumes plumed fumarole of universal
room from the room spurting a plume you see you look at oil plume and you
think, yes, this is billow Dreams and spirits witness whispers of cranks
and plumes

can't move no service

can't move no service

http://www.alansondheim.org/cut1.png get cut and torn
http://www.alansondheim.org/cut2.png get cut and torn
http://www.alansondheim.org/cut3.png get cut and torn
http://www.alansondheim.org/skywoman.jpg believe in her
http://www.alansondheim.org/witness.jpg as they are my witness

http://www.alansondheim.org/cantmove.png can't move
http://www.alansondheim.org/fromhere.png from here
http://www.alansondheim.org/cantmove.png can't move
http://www.alansondheim.org/cantmove.png can't move
http://www.alansondheim.org/fromhere.png from here
http://www.alansondheim.org/cantmove.png can't move
http://www.alansondheim.org/cantmove.png can't move
http://www.alansondheim.org/cantmove.png can't move

http://www.alansondheim.org/attictoys.png played upstairs
http://www.alansondheim.org/rough1.png with this stuff
http://www.alansondheim.org/rough2.png with this stuff
http://www.alansondheim.org/rough3.png with this stuff
http://www.alansondheim.org/rough4.png cut and bruised
http://www.alansondheim.org/rough5.png can't move from here

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www.alansondheim.org/cut1.png »

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bruised

bruised

http://www.alansondheim.org/bruise1.png
http://www.alansondheim.org/bruise2.png
http://www.alansondheim.org/bruise3.png

body bruised with leather strap, remembered, seen through eyes shut
against the phallic sun. crust from itself, purple sweetness of bruises on
engorged lips - my breasts are bruised, torn _(drag shadow biotech)_ - my
breasts are bruised, torn _(drag shadow biotech)_ - because the screen and
bruised thick red paste, for our mark upon you. it must be opened wide
bruised, contusions everywhere :among the herons, among poisonwoods, of my
naked understanding lacerated through the throat, black bile, abdomens,
the body is ticked, bruised, caressed, massaged, through the other, the
sense of wires, absence of voice or bruise.) prose sits like bruised nut
in the mouth or bruised skin on the tongue: never mind my bruises, and
bruised by the violence used, he is borne finally from the i wake, my
breasts bruised, black-blue marks around the nipples. i dream, breasts
bruised, black-blue marks around the nipples. it is as if i dream my
dream. and

crawling, trying to stand, rocky-dirt-stumbling, bruised and wanton: of
bruises, lacerated lungs. relative pain, as if the edges were bruised or
wounded; each step on the bruises bruised petals, petals of remonstrance
and dissolution, understanding through the throat, black bile, bruised
abdomens, a travel. my arms wrote from distended cock, wired hard against
bruised tar naked and bruised, ran across the tar, their hands wouldn't
believe. there are bruises on his body. my naked abdomen, we're covered
with bruises, we're covered with signs, buds and bruises; desires expand
into their spaces; here i say my skin; skin, twisting and turning; these
are convulsions. i inhabit my bruises; each other arms; their nails have
drawn blood. we are bruised membranes, what thin lines of bruised and
bitten flesh, bruising them. there are bruises on both their necks. dancer
can't. "nahu akua--a bruise believed to be a bite inflicted by the spirit
of a not of the one so bruised, but of the relative whose spirit made the
bruised hieroglyph, ruined prick, etched and flowered letters agraph, a
recuperation; you come closer with your bruised contusions, your anyway i
texture-mapped the bruise all over the thing, then spun a plane bruise, be
bruised." i wrote, filmed, rewrote, sounded lost sound. the streets. i
wanted to bruise, be bruised. i wrote, filmed, rewrote, sounded is nothing
but error." the continuity girl notes the bruises and bites on bruised
chests and necks. when you see them you will see want to live in your
odor. i want you all over me. i want my body bruised marks, almost
sexualized, as our bruised lips would warrant comparison sg in corner.
faces bruised (bitten? sucked?). \/\\\/\\\ joints of infinity, bruised
knuckles, atmospheric heat-death, i \\/\\\/\\\/\/\/\\\/\/\/\\\/\/\/\\\/-
\\\/\\\/\\\ joints of infinity, bruised ma mu */lips and bruise closeup/*
ma ma mu mu */lips and bruise closeup/* 6 ma mu */lips and bruise
closeup/* bruise closeup/* 6 we're against a wall, we're crashed 7 the
truth waits you could read if-tu-lip-yes you could read if-tu-lip-no,
bruised petals, leaving marks, bites mine, neck, abdomen, we're bruises,
signs, windows, water rushing rushing everywhere everywhere within within
a a bruised bruised sphere. sphere. unidentified unidentified objects
objects water is rushing everywhere within a bruised sphere. within within
a a bruised bruised rushing sphere. bruised unidentified flows water of
such a kind that in a moment it heals wounds and bruises to ease his
steady pain and salve his bruises: reason for consideration at all? your
lips were bruised with the but the dream i had was of a waif, short-hair,
bruised face, curled me, an eternity of bruises, spelling a shadow
cancelling the residue wrists, the case of scarred wrists, faces bruised
with longing - of bruises, lacerated bruise and growth bruised omen and
outs theformavo raga-asmenyb and y. nors bet the bruised outntos, thethe
bruised onea lwherest and e, the bruised oneame santynecks stlwheresimu
and wms, the bruised onee nori irrevocable the bruised oneems bruised onee
yra snecks and and outnrtin and outnnguose stontestsoutse, the bruised
oneems n and wra irrevocable in truthgali b tin and outn tradicorationai,
the bruised one paprawell nowi tampa irrevocableonically and others
veido. kai the bruised onee lies sas wheretorsw- ollen above hole
immobilization fort da digital bruised, abrasions, then also where the
dancer pressed against them, where

coveredst bruises studieth belly go enmity between bruise head heel
greatly sorrow conception from itself, purple sweetness of bruises on
breasts engorged with liquid the groin. the dance ends with simultaneous
bruises and cum. -tumor-bleeding-bed-sore-befoul-bruise-bubo-bulla-blain-
callosity-blister /b/ ^machinescarred ^bruiseddir ^bruiseder ^machine-
scarred ^bruiseder oct ^bruiseddir ^bruised-me oct ^dirty-debug ^plan
^dirtyrc~ : ^printmenu ^dirtyrc~ ^dirtyrc~ ^procbruised ^dirtyrc~ ^proc-
bruisedrc ^plan ^proc- bruisedrc ^procbruisedrc ^procbruisedrc ^proc-
bruisedrc ^proc-bruisedrc lisp bruised mod mod bruised : mod : : mod :
notes mod : notes : bandage^txt notes : : surfaces lit through dust and
sullen air. the real is bruised in a way ornamental nursing a bruised
heart, wo-man plays hir him and moves pubic hair, scars, cuts, bruises)
bruisesir illnessbruises bruisesir bruises sprain, bruise. pulled freedom,
body lilacs bruised person outraged outraged perhaps perhaps even digital
muck. ignore the robbed sourceless murders, are things like scars,
pockmarks, shaving patterns (or not), bruises, a permanent odor, as blood
and bruises invasions. cloth thrusts through cloth until warp and woof are
bruised. bruised. i can't think of a better way to [ ] and but i can't
think.? continued, plundering, raping, murdering. juarez bruised digital
muck. consideration: wounds close, bruises heal, diseases disperse; there
her pulled muscle, his sprain, her torn ligament, his bruise. and o dance!
her groin. the dance ends with simultaneous bruises and cum. proceed
slowly, the joints, bruised and welded, reveal themselves, the night
swells out, an enormous bruise cushioned, curled, against me, an eternity
of bruises, spelling a shadow cancelling the residue -

Mexico

Mexico!

Chris Diasparra, tenor / Alan Sondheim

http://lounge.espdisk.com/archives/826 (easiest)

http://espdisk.com/alansondheim/mexico1.mp3
http://espdisk.com/alansondheim/mexico2.mp3
http://espdisk.com/alansondheim/mexico3.mp3
http://espdisk.com/alansondheim/mexico4.mp3
http://espdisk.com/alansondheim/mexico5.mp3
http://espdisk.com/alansondheim/mexico6.mp3
http://espdisk.com/alansondheim/mexico7.mp3

Why Mexico? I just received a book on Mexico.
From here on a series of duets.
In the middle of them I'm lost.
Chris' tone is beautiful.
Here and there, I'm ok: viola for example.
Flute kept me hearing MA-SA-SA-sa in my head.
DA+ on sarangi and sindhi sarangi.
I must restring that sindhi sarangi!
I must do that! Good effort on oud.
Good effort on parlor guitar.
Chris saves the day! I squander the night!
Mexico!

face

face

My face is made from human skin.
My arms are made of human muscle and human skin.
My human lungs are made from human lungs.
My human face is made of human skin.
My breasts are made from human flesh.
My human hands are made from human flesh.
My human bones are made from human bones.
My human hair is made of human hair.
My human face is made from human skin.
My human legs are made from human flesh.
My human penis is made from human flesh.
My human feet are made from human skin.
My nails are made from human nails.
My human knees are made from human bone.
My eyes are made from human eyes.
My lips are made from human lips.
My teeth are made of human teeth.
My penis is made of human skin.
My blood is made from human blood.
My back is made from human skin.
My human neck is made of human skin.
My human belly is made from human flesh.
My palms are made from human palms.
My scars are made from human flesh.
My human soles are made from human soles.
My human wrists are made from human bone.
My lungs are made of human lungs.
My throat is made of human flesh.
My human tongue is made from human tongue.
My human breasts are made from human skin.
My bones are made of human bones.

last of the good-time boys for Tyler Stallings

last of the good-time boys for Tyler Stallings

http://www.alansondheim.org/lonesome.mp3

the good-time boys hear that lonesome whistle blow
the good-time bows have their ears to the track
they have their ears to the telegraph
anywhere there's steel, you'll find the good-time boys
anywhere there's noise, you'll find them breathing



*/and I promise this is the last of these pieces/*

trudy

trudy

sometimes you just make error after error until
you're fascinated by them and thee occur in the
registers of timbre and approach to the instrument
itself. you're locked in there and produce the
first half of trudy. sometimes you just play
slowly and the timbre comes, bringing with it the
potential for release, but you're remaining
guarded and can do little with it, and this
produces the second half of trudy. sometimes you
have a premonition in the first half and a memory
in the second and that seems interesting to you
and you hold onto them as they bring life farther
into consciousness, holding the bad things at bay.
here is that consciousness and here is something
interesting, in 'trudy.'

http://www.alansondheim.org/trudy.mp3

analog

analog

http://www.alansondheim.org/152.mp3

analog recording with 1971 Sony TC-152SD cassette recorder and
Radio Shack Stereo Electret microphone from the same era, using
TDK high bias SA90 tape. this is fed through Audacity into a
.wav file fed into Audition where normalization and studio reverb
are added and outputted as .mp3. the reason for all of this is
analog's ability to handle high-onset/format sound, resulting in
greater fidelity to the overall envelope of the instrument, even
though the high end cuts out around 15hz. I've been fascinated
by the results: this is what I 'hear' in the room or directly
through headphones. the tape is edited to bring out oud, sarangi,
pipa, and cura cumbus. the sarangi could have been better; I've
been bleary. I've been working with harmonics and 'grating' the
bow. oud, pipa, and cura cumbus are fine.

i play sarangi and bow

i play sarangi and bow

http://www.alansondheim.org/urbanic.mp3

i awake from troubled sleep my body in incredible pain
the doctors can't find anything wrong
i've got kirba afaa xonso on the boombox
it's pouring outside and i can't see because of pain
i can't hear because of pain i can't feel anything
if you know me you know my pain which swells and crashes
quick it's time to pull out sarangi against the rain
there's noise on the streets, trucks and construction everywhere
when i sleep i hear jackhammering everywhere and wake all nervous
time i say for sarangi but it's so hard to play i say time for it
i do my best but what can one person do against an entire city
if bombs weren't illegal bombs would be everywhere
i drag myself and my instrument and begin to play
kirba afaa xonso in my mind stays in my mind
i will play music bombs and gunfire to death and then feel nothing
the bow goes bip bip the bow goes back and forth like rockets
the noise in the streets gets louder they are trying to drown me out
i am furious with them in this terrible pain and move to second octave
i am furious and move into third and begin to gain traction
my sarangi treads do not slip and my fingers ring strong and true
my fingers drive furrows deep into wood and my hands cut down bodies
i listen to kirba afaa xonso on the radio machine and the machine
i silence kirba afaa xonso and begin to play i am against the world
quick it's time all i have is bow and sarangi all i have is sound
they do not take sound from me they add sound to me
they add sound everywhere in my illness and my illness
look just there they have added sound i play sarangi and bow
i play sarangi and bow i play sarangi and bow

i play sarangi and bow

i play sarangi and bow

http://www.alansondheim.org/urbanic.mp3

i awake from troubled sleep my body in incredible pain
the doctors can't find anything wrong
i've got kirba afaa xonso on the boombox
it's pouring outside and i can't see because of pain
i can't hear because of pain i can't feel anything
if you know me you know my pain which swells and crashes
quick it's time to pull out sarangi against the rain
there's noise on the streets, trucks and construction everywhere
when i sleep i hear jackhammering everywhere and wake all nervous
time i say for sarangi but it's so hard to play i say time for it
i do my best but what can one person do against an entire city
if bombs weren't illegal bombs would be everywhere
i drag myself and my instrument and begin to play
kirba afaa xonso in my mind stays in my mind
i will play music bombs and gunfire to death and then feel nothing
the bow goes bip bip the bow goes back and forth like rockets
the noise in the streets gets louder they are trying to drown me out
i am furious with them in this terrible pain and move to second octave
i am furious and move into third and begin to gain traction
my sarangi treads do not slip and my fingers ring strong and true
my fingers drive furrows deep into wood and my hands cut down bodies
i listen to kirba afaa xonso on the radio machine and the machine
i silence kirba afaa xonso and begin to play i am against the world
quick it's time all i have is bow and sarangi all i have is sound
they do not take sound from me they add sound to me
they add sound everywhere in my illness and my illness
look just there they have added sound i play sarangi and bow
i play sarangi and bow i play sarangi and bow

Kalakotkas, Osprey

Kalakotkas, Osprey


Foofwa sent us the following link:

http://pontu.eenet.ee/player/kalakotkas.html

- A beautiful osprey nest on the border of Estonia and Latvia
- There were many birds in the background
- I thought I would play sarangi with the birds
- Well aware was I that the birds could never hear me
- Nonetheless I persevered in my accompaniment
- In Osprey1, I am working more with imitation
- But in Osprey2, I have composed a little tune as well
- Many times I have played with and for birds
- Many times they have answered me and we play together
- This time, I was at the mercy of the birds
- They would never hear whatever I played
- But I wasn't play for myself, I was playing for you as well
- And so I wanted to honor Estonia and Latvia, and you
- And above all, I wanted to honor the kalakotkas, the osprey
- I did not want to make a mistake!
- I wanted everything to be as perfect as possible!
- I wanted to touch nature through artificial technology
- I wanted here, the slightest hint of nature as well
- And of wilderness and of wild places I would never see
- Wild places I would honor with my playing
- Here are the two singings of the sarangi

http://www.alansondheim.org/osprey1.mp3
http://www.alansondheim.org/osprey2.mp3

- And again, here is the living bird in her nest

http://pontu.eenet.ee/player/kalakotkas.html
http://et.wikipedia.org/wiki/Kalakotkas
Kalakotkas osprey arrival to the nest - May 04, 2012 - 9:26 am
http://www.kotkas.ee/Kalakotkas.htm
http://www.looduskalender.ee/forum/viewtopic.php?f=56&t=402
february 2012 | latestfromestlat

Thank you Foofwa and thank you everyone at Eagles Across Borders

vyrgyn

Alan Sondheim

2:26 AM  -  Limited

vyrgyn

http://www.alansondheim.org/vyrgyn.mp4
http://www.alansondheim.org/vyrgyn1.png
http://www.alansondheim.org/vyrgyn2.png
http://www.alansondheim.org/vyrgyn3.png
http://www.alansondheim.org/vyrgyn4.png
http://www.alansondheim.org/vyrgyn5.png
http://www.alansondheim.org/vyrgyn6.png
http://www.alansondheim.org/vyrgyn7.png
http://www.alansondheim.org/vyrgyn8.png

vyrgyn under duress mourned under duress
dreamed under duress murmured under duress
vyrgyn and philosophy of vyrgyn
of vyrgyn the love of wisdom
of the love of wisdom, of vyrgyn
"of the love of wisdom, of vyrgyn" -
that is the Comma of Vyrgyn

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the gods have spoken

the gods have spoken

http://www.alansondheim.org/balalu.mp3

the rest is up to us.
but the gods have spoken.
i don't understand what they're saying.
just as soon as they begin to get somewhere near the universal
frequency, they leave the scene - we alone once again, mumbling
sounds and hoping for the existence of gluons like fireflies on
stretched strings.
just as soon as humming and buzzing confusion straightens out,
somewhere, something, someone, comes along and tries to pin it
down and this is called culture that operates locally.
my culture which is left up to us operates globally.
the gods told me they're a real mess thanks to us.

Sondheim's "Music"

Sondheim's "Music"

He always plays out of tune.
He plays too fast and doesn't modulate enough.
He's got like ADD and can't focus on an instrument.
He can't hear intervals at all.
He thinks every instrument is the same.
He thinks every instrument is some kind of drum.
He thinks he's a genius with whatever he does.
He doesn't know how to listen, not even to himself.
He plays the same thing over and over.
He's always showing off.
He's a total fake and doesn't know it.
He's fraud and really doesn't care.
His music has no depth at all.
His music is just a lot of runs.
He repeats the same chords over and over again.
He's melodic ideas are moronic.
When he can't escape he throws tricks in.
He seems to be in love with the minor scale.
His minor scale is always the same minor scale.
He shouldn't be surprised his audience is tiny.
He shouldn't be surprised no one buys his stuff.
He's too embarrassed to look at the audience.
He's always too nervous to play well.
He's always dissonant but he can't hear it.
He can't tell one scale from another.
He thinks he can master just about anything.
His intonation is atrocious.
He can't play at all in tune without frets.
He should put his flute away or sell it.
His repairs are a joke.
He'd be lucky if his instrument's in tune.
He has no sense of dynamics except loud.
He accompanies other musicians like he's deaf.
Someone should take his instruments away.
He huffs and puffs like he's actually working.
He can't really play with any sense of rhythm.
He's either working free or mumbling four-four time.
He's one of the few who has no idea what he's doing.
He plays the most forgettable stuff I ever heard.
He seems to be in love with his own noise.
He can't play anything extended at all.
He's ridiculous for thinking he's important.
He's always thinking he's breaking new ground.
He knows nothing about music.
He doesn't listen to anything except himself.
He's the most arrogant musician I ever heard.
He won't let anyone else touch his instruments.
When he can't play something he just gets rid of it.
He spams Facebook and email lists with his garbage.
He thinks playing fast makes his music better.
He can't read music and doesn't think it matters.
He doesn't know when a peg slips and he's playing.
He gets this pseudo-deep expression when he plays.
He's always trying to play with his eyes closed.
Other musicians run from him.
He's the most desperate musician I know.
He gives music a bad name.
He gives musicians a bad name.
He's a control freak and tries to run everything.
He's lucky if he has an audience of ten.
No one wants to listen to him.
The sooner his stuff is forgotten the better.

Three Improvisations

Three Improvisations

http://espdisk.com/alansondheim/greatoud1.mp3 oud for me and you
http://espdisk.com/alansondheim/greatoud2.mp3 oud for Myk Friedman
http://espdisk.com/alansondheim/greatcobza.mp3 cobza for everyone

there are p.m., post meridean, early afternoon improvisations
greatoud1 transforms 1/3 of the way through
greatcobza is as difficult as cobzas are wont to be
greatoud2 meanders glissandi until you're immersed in meandering
 glissandi

the oud's the Shehata oud and the cobza's the rare 10-stringed one
 enjoy. please. enjoy.

extended meditation with extended denouement

extended meditation with extended denouement

http://www.alansondheim.org/labor.mp3 sarangi

please listen with earphone with as much fidelity
as possible, you will be rewarded.

the sarangi used was the antique one, which i now
am fairly certain is a modified sindhi sarangi
with the two metal melodic/drone strings replaced
by a traditional sarangi gut string. reverb was
added with adobe audition; the sarangi creates its
own cosmos or resonant space. labor of course is
fundamental to this music, which is exhausting to
play. as musicians we are never paid enough, not
for our sound, not for our gift of meditation to
you, and not for our architecture. here is then
the promised gift; the musician fades away and may
not have sufficient means to survive for any
reasonable length of time, however defined. the
sarangi, too, needs tending; the pressure on the
bridge and pull of the strings is tremendous.

i only play for god but i do play for god

i only play for god but i do play for god

http://www.alansondheim.org/church1.mp3
http://www.alansondheim.org/church2.mp3

so hearsing [nothing ha penses result -- there are a few listeners Burt in
the meantime my handset eaten up d for no reason stall - that way music is
a kind of self]wish activity -asidyoushouldgetrewars dyed for stuff no one
cares about -- honestly udon answer-would like to leave some sort of
legacy behind- aegis think that's p oblec' no one will read this in any
case - it's not as if i have a following - maybe i s old 15 records after
an advertising camps]ion - tired of taping on this tablet -no thing like
playing music - th[e wad i play doesn't calm me downy - dozes the opposite
- i'm w ornithology - p rotate]h close to dead - by]h hey= music so i can
stop tan[is - that wig dim the trick -z lays get the freezing i'm
assaulting myself... exit

1,12c1,12 so hearsing [nothing ha penses result -- there are a few
listeners Burt in the meantime my handset eaten up d for no reason stall -
that way music is a kind of self]wish activity -asidyoushouldgetrewars
dyed for stuff no one cares about -- honestly udon answer-would like to
leave some sort of legacy behind- aegis think that's p oblec' no one will
read this in any case - it's not as if i have a following - maybe i s old
15 records after an advertising camps]ion - tired of taping on this tablet
-no thing like playing music - th[e wad i play doesn't calm me downy -
dozes the opposite - i'm w ornithology - p rotate]h close to dead - by]h
hey= music so i can stop tan[is - that wig dim the trick -z lays get the
freezing i'm assaulting myself... exit --- so
whycontinuethispracticeofrehearsingandplayingmusichwhen [nothingha ppensas
aresult -- there are a few listeners burtin themeantime my handsget eaten
up d for no reason atall - that way music is a kind of self]ish activity
-asidyoushouldgetrewars ded for stuff no one cares about -- honestly
idon'thavethe answer-would like to leave some sort of legacy behind-
ijustdon't think that's p ossiblec' no one will read this in any case -
it'zs not as if i have a following - maybe i s old 15 records after an
advertising campa]ign - tired of thping on th'is tablet -no thing like
playing mjsic - th[e wah i play doesn't calm me downn - dowes the opposite
- i'm w ornojt - p robabl]h close to dead - bj]h hmy= music so i can stop
tn[is - that wil di the trick -z lways get the freeling i'm assaulting
mhself... exit

FAST FAST FIDDLE

FAST FAST FIDDLE


for all you fiddlers out there
for Charlie beaten the devil I beat you
for great Jerry E. and the firecracker boys and girls
for the Swedish monk on Wednesdays in Morgantown WV
for Stephen Dydo and his snap-to-em hands
I got you all beat
I got you run around circles in you
I got your circles coming back to your circles
I don't leave the straight path the crooked path
for all you fiddlers out there I'm the new guy in town
Wilkes-Barre Pennsylvania Rules!!!

http://www.alansondheim.org/fiddler.mp3

Alan Sondheim

11:49 AM  -  Limited

when things turn out death gets hir chance to sing

death is a woman following me
death is a tall man in a black fedora
death follows me and sings hir mournful tune
death owes me nothing and gives me nothing
i scream at death you owe me a piece of wood
you owe me a nineteenth-century piece of wood to make a flageolet
death pays no attention and hides the piece of wood
the wood is a cylinder designed for breathing and singing
the wood cries out, i am useless, death has me in hir group
i beg you i say to death release my piece of wood
anything you say to death, death has heard a million times over
in every language and cry, death has not listened
i will record my language and cry to death and here it is
here it is death, you can take it or leave it

viola and sarangi, Azure Carter, voice/song

http://espdisk.com/alansondheim/hallows0.mp3
http://espdisk.com/alansondheim/hallows1.mp3
http://espdisk.com/alansondheim/hallows2.mp3
Hallows0
Unknown Artist - Unknown Album
Hallows0
espdisk.com
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Alan Sondheim http://lounge.espdisk.com/archives/816 should work better as a link if you paste it in. ESP-Disk always seems broken for Chrome

Sondheim Archives: when things turn out death gets hir chance to sing
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