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Posts Tagged ‘music’

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DHRUPAD 2 (night)

Slow now, night now, moon now, night now. The eye shadowed, land shadowed, mind shadowed, night now, owls now, in mind shadows and moon mind too. Cloud shadowed and fine mist light drifting wood ways, the river sky, the river wood, the river mind, the moon a drop. A drop down, suspended, held drift the night words outwards, upwards, slow now upwards, star and drift and dark shadow and cloud upwards along the light line the shadow mind cool cool in moon and deep drowned one mind slain and and and no more lost no more moon no more slope to sing the river forest sky rain cloud ways slow now, slow the moon now, the deep now the silent now the shadows. Now.

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DHRUPAD 1 (mountain air)

slow now, slow the grey cool,

slow
the
way
down.

The gods love this – space free of souls,

no
weight
of prayer.

Small thought light as wings, light on light,

shimmer stacking cloud.

The journey is one breath belonging to horizons
all ours.

They hover here,
hover here,

endless attractors
the cascading distant waters,
the air breezed
from
high
ice
centuries abiding in white.

Slow now, the in and out

suffering little from its movement,

revolving an axis honeyed.

If there are words, they become smudged distance. If there is

sound,

it drifts cloud and misty vapour,

sand, grained and free,

slipping
sift
away,

slow, now, slow.

I have been listening to a lot of Classical Indian music lately, especially rudra veena and surbahar that are instruments ideal to interpret the ancient style of dhrupad. Dhrupad is a vocal devotional music that slowly and thoroughly uncovers the notes and patterns of each piece. There is a lot of repetition and sequences, and although words are sung, it is the emotion within the notes of the raga that creates its profound effect. These poems take some of the rotational effects of dhrupad and its exploration of motifs and rhythm. Originally written as a continuous text, they will best be presented in an open arrangement so that the eye intuits the timing of its narration/reading by the various groupings of words and phrases. (I do not think I will be able to accomplish it very well here within this page structure, but hopefully there will be some of the flavour I intended). There may be something of e. e. cummings, and something of Harold Budd, something of the word patterns of George Macbeth and something of the helter-skelter pace of Dylan Thomas. But most of all, I hope, the slow savouring of sound and image suggested by the alap and jhor of dhrupad.

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SING OUT

Singing hymns to emptiness
Sound disappears with meaning
The instant it leaves the mouth

We need gods to sing to,
Something of the familiar,
But made more important,

As if worms and weeds
Had not silently shaped
All we are and will be.

It is what rivers and stars do,
It is what sheep and birds do,
Sing out to each other
That thin, frail line between
Life and death and life again.

Greedy gods and good gods
One by one supplanted
Though their lives are aeons.

Fed by song, happy in their given shapes
Until the singing stops
Where they forget their names,
Hatch as butterflies hungry for nectar.

There are the great and there are the small
While the song is sound and silence.
The void: a pause between movements
Where the audience wonders if it should clap
But remains in stillness, held within
A lovely diminishing resonance.

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By Breath

Awen, awel, gwen, gwyn.
By sound they collect, though not by derivation:
A poet’s excuse.
Biological etymology, a bloom of lichen,
Mutually supporting, intergrown,
What is not the same becoming
What is not different.
Inspiration, breeze, white, so white.
The mist effloresces, it becomes name.

The hunched woman, the crooked woman,
Behind it all, birth and death mother.
Ceridwen, overflowing awen, bright river racing.
Energy of remarkable stimulation, disperser of the seeds of wisdom
(The soot black severed-head seeds of alder,
The fine feather floating of willow and poplar, careless Gwion Bach).

Fresh water mixed with jet.
We shall reflect upon it, upon its depths,
Upon the mirrored world it shows,
The membrane, the drum skin,
The roof of the sky.

By breath from Ceridwen,
Hunched over, tight focus, mind sharp,
The cauldron within Annwfn.
The place where things are true and of themselves.
In the world
It is not the world it is, the most of the world.
The inner world, the deep, the profound.

Perception of patterns
(all that perception is, after all)
Ogrfen in awen, a phase of awen, a part,
Patterns of the world in the breath.
Witnessing the deepening of things as they are.
The Ideal peeking through the ordinary.
In a chant, in a repeating, in a breath in and out
And the sound between. Again and again.

I sing awen.
I bring it forth from the depth.
Awen in annwfn weighs and judges the worth.
Awen brings forth annwfn

Deep awen – ddofn awen
Deep awen of deep memory,

The deep, deep within the breath.
And what will it turn out to be, after all,
Except this: annwfn is the memory
Of all things, unreleased, unchanged, unforgotten,
Piled up, sunk down, absorbed, soaked through.
A saturation of patterns, a pathway etched,
A river chiselled, a dance dreamed in the heart
Of all matter, what matters, what holds together.
Between the two cataracts of the wind, between the
Song of the lungs, the heart fortress and its salt tides.

Not the words, not the tale.
The weaving of sounds, the way to go beyond
And beneath the meaning,
Lost in the music, the meanings trail behind.

Eiliad – the composition of poetry,
one second, one woven moment,
A weaving in time.
Rhythm defining time
Moving through time
Harmony created to memorise, remember.
The thrush singing the world away
Revealing the underlying presence of sacredness.

This high throne, this chair, this rock: a place of song.
Worlds reflected in the sound and rhythm,
Mirroring, transformed, switched.
A seething mist, a sunlit hillside,
Sound of distant traffic.
When time has run,
it gathers itself up
And remembers
And by this
Becomes free
From itself.
Eternal,
Golden.

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MUSIC FOR THE END

I shall not go into tomorrow
( though I may dream there).

These poems poised to begin again.
Our music, the only thing to give us birth.
What the endless aeons of starlight have waited for.

At this river’s edge – the taste of tears and flowers.
I shall dream tonight the distance –
Roaring waterfalls in Yolmo,
And the pearl liquid silent waters:
Loch Craignish after rain.

Do what we may, it will never be enough.
We paint the day and start again.
The gods have cursed us with their beautiful weaknesses.
With poetry that will not stay,
With friends and with loves
And with endings.

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connla’s well

to bend and break the smallest thing.
to lust for endless yes and no,
an absolute reckoning, soul shredded,
monotheistic, the lie of ultimate truth.
bright and rainbow bright
are the poisoned slicks of connla’s well.
persistent petrochemical degeneration,
a vitriol squirming to return to peace,
to a simple organic hush,
the breathless pall of surcease.
dark and bodiless in perfection,
a simple voice unquestioned,
a greasy fire emitted,
the burning of all things
superstitious or holy.

and deeper yet: a spark not found in stars
acidic and relentless, demonically proud,
an unholy perfection eternal.
anathema, contrary to all things,
a mistake unretrievable,
adhering to all beauty
with a most perfect destroying jealousy.

these things do the foolish wise bring forth.
these days and nights of eloquence do they refuse.
these they will rue, though still persue the poison of power.
they will become the unnamed, the cursed, the wretched,
though yet will they delve and dive deeper into death
and deeper yet, lost and seething, dissolving, rotting,
ruining all, ruining all.

Though ‘irretrievable’ is correct, i prefer ‘unretrievable’, seeming to sound more final.

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DREAM BETWEEN DREAMS

It shall be called
The dream between dreams.
It shall have the sound of rudra veena
Howling the low, long song
Of mountains.
A doorway that vanishes
In walls and moments,
Hunters of persistence and cunning
That track betweens
With such eager precision.

A sepia lithograph of ancestors
Scattered with scratched code.
A stuttered sunrise,
A mumbled equation.
Fragmented, woven storeys.
Intercepted thought-
A patterning of stars.

It shall take beauty to itself.
It shall wear a body
Suspended and gently packed
With birdsong.
It shall have a sunrise
Located in a northern way.
Magnificence untranslated and untranslatable.
A verticality, a rotation, a specific gravity.

Freed from the body
It twists to a certain extent,
A mind will take colours to itself
As murmurs of joy.
A shuffled deck of cards
(Where all images are constantly changing),
Vapour words uttered to themselves and gone,
Drawn from all tomorrows,
A suffering of beauty.

The rudra veena says:
“Music is the very means
Ye shall venture through vastnesses,
The telemetries of time and space,
Control panel of deity,
Bender of physics, answer to worlds,
Mating call of galaxies.”

The rudra veena is an instrument of South India, a pumped up, pimped up sitar, more growling even than the surbhahar ( a bass sitar). It has two huge gourds at either end, that wrap around the person holding it, and a long,wide fretboard. It has a monumental, alien sound in recordings. Live, it probably vibrates bones and deepest soul. Beyond human, the rudra veena is the player, human being the instrument.
( search ‘rudra veena’ into youtube and give yourself a thrill!).

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HAIKU : ALAP AND JOR ALAP

Raag Bhairavi
Alap of blackbirds
Rain cooling breeze.

Liquid air
Alap of blackbirds
Wind tampura.

Cloud blooms blackbird’s song
New green sways dances
Welcome rains welcome breezes
Mind tongue tastes cool day
Touch settled on clear moments.

(Classical Indian music is arranged in developmental sections. First, is a slow alap where the notes of the scale (raga, raag) are explored in relation to the pakad or thematic melody of the piece. Next comes a jor alap, which is slightly more structured with a rhythmic percussive accompaniment on the chikari strings ( akin to strumming on the guitar combined with a lead melody picked out).
Raag Bhairavi is one of my favorites. I believe it is a morning raag, but has a rather haunting and melancholy pakad with a lovely descent of notes.)

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TALLIS EXULTANT

Golden moon rests
Upon a throne of low cloud.

All night long-
As bright as day.

Dawn shall not diminish her:
Sinking radiant
Into new lands.

A long music,
A choir of days.
Tallis exultant.

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The way music moves us,
(And from where those fiery winds?)
Meaning hidden, meaning most.
A call of lover, mother, home,
A lost path, a landscape,
Dreamed, so familiar, nameless.

The way it moves.
(And what is it?)
A picture of worlds made in mind,
Mind made real, mind talking.
A giving out, a giving of form.
Sounding depths, shallows rippled.

A language of moments
Escaped from time.
Shaped nothing,
Coming, going, resounding,

And music is how we make,
How we shape, our souls.
For all that lives, sings,
(Does it not?).

We find what we may be
By holding, turning, curving air.
Moving, it moves us,
Moving, it moulds us.

Sound exists only
When it is going out
Of existence.
Music moves us
By the accumulated memory
Of notes no longer heard.

(Chords are the thunder
Of one instant.
A tune: a patter of drops,
A blackbird, after storm has passed.)

Wrapped up in it
We find our skin and nerves.
Tingled, a breeze, a whisper.
Edges, but edges that cannot be measured.
Scales, large, small, up, down,
In meets out and melts.

Note, notation, sound
And space timed.

Thought free from subject
And object.
Thought, wordless,
Exultant.

Ripples in the ether,
String theory,
Sound in a jar.
Movements,
First to last.
Scriabin on a mountain
Scribbling Siva.
Drawing colours
From the tenuous darkness.
Chladni smiles.
Shri shri shri.
(Sings itself).

—-

This is in response to a comment, whose whereabouts i just can’t find at the moment, but the first line here is what it was. Apologies and thanks for the inspiration, whomsoever it was….

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