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AAron Roz  May 2018
Sound
AAron Roz May 2018
Music is loud or quiet.
Music is soft or heavy.
Music can have meaning or not.
Music can be nothing or everything.
Music is:
◾Art Punk
◾Alternative Rock
◾College Rock
◾Crossover Thrash (thx Kevin G)
◾Crust Punk (thx Haug)
◾Experimental Rock
◾Folk Punk
◾Goth / Gothic Rock
◾Grunge
◾******* Punk
◾Hard Rock
◾Indie Rock
◾Lo-fi (hat tip to Ben Vee Bedlamite)
◾New Wave
◾Progressive Rock
◾Punk
◾Shoegaze (with thx to Jackie Herrera)
◾Steampunk (with thx to Christopher Schaeffer)

•Anime
•Blues ◾Acoustic Blues
◾Chicago Blues
◾Classic Blues
◾Contemporary Blues
◾Country Blues
◾Delta Blues
◾Electric Blues
◾Ragtime Blues (cheers GFS)

•Children’s Music ◾Lullabies
◾Sing-Along
◾Stories

•Classical ◾Avant-Garde
◾Baroque
◾Chamber Music
◾Chant
◾Choral
◾Classical Crossover
◾Contemporary Classical (thx Julien Palliere)
◾Early Music
◾Expressionist (thx Mr. Palliere)
◾High Classical
◾Impressionist
◾Medieval
◾Minimalism
◾Modern Composition
◾Opera
◾Orchestral
◾Renaissance
◾Romantic (early period)
◾Romantic (later period)
◾Wedding Music

•Comedy ◾Novelty
◾Standup Comedy
◾Vaudeville (cheers Ben Vee Bedlamite)

•Commercial (thank you Sheldon Reynolds) ◾Jingles
◾TV Themes

•Country ◾Alternative Country
◾Americana
◾Bluegrass
◾Contemporary Bluegrass
◾Contemporary Country
◾Country Gospel
◾Country Pop (thanks Sarah Johnson)
◾***** Tonk
◾Outlaw Country
◾Traditional Bluegrass
◾Traditional Country
◾Urban Cowboy

•Dance (EDM – Electronic Dance Music – see Electronic below – with thx to Eric Shaffer-Whiting & Drew :-)) ◾Club / Club Dance (thx Luke Allfree)
◾Breakcore
◾Breakbeat / Breakstep
◾Brostep (cheers Tom Berckley)
◾Chillstep (thx Matt)
◾Deep House (cheers Venus Pang)
◾Dubstep
◾Electro House (thx Luke Allfree)
◾Electroswing
◾Exercise
◾Future Garage (thx Ran’dom Haug)
◾Garage
◾Glitch Hop (cheers Tom Berckley)
◾Glitch Pop (thx Ran’dom Haug)
◾Grime (thx Ran’dom Haug / Matthew H)
◾*******
◾Hard Dance
◾Hi-NRG / Eurodance
◾Horrorcore (thx Matt)
◾House
◾Jackin House (with thx to Jermaine Benjamin Dale Bruce)
◾Jungle / Drum’n’bass
◾Liquid Dub(thx Ran’dom Haug)
◾Regstep (thanks to ‘Melia G)
◾Speedcore (cheers Matt)
◾Techno
◾Trance
◾Trap (thx Luke Allfree)

•Disney
•Easy Listening ◾Bop
◾Lounge
◾Swing

•Electronic ◾2-Step (thx Ran’dom Haug)
◾8bit – aka 8-bit, Bitpop and Chiptune – (thx Marcel Borchert)
◾Ambient
◾Bassline (thx Leon Oliver)
◾Chillwave(thx Ran’dom Haug)
◾Chiptune (kudos to Dominik Landahl)
◾Crunk (with thx to Jillian Edwards)
◾Downtempo
◾Drum & Bass (thx Luke Allfree)
◾Electro
◾Electro-swing (thank you Daniel Forthofer)
◾Electronica
◾Electronic Rock
◾Hardstyle (kudos to Dominik Landahl)
◾IDM/Experimental
◾Industrial
◾Trip Hop (thank you Michael Tait Tafoya)

•Enka
•French Pop
•German Folk
•German Pop
•Fitness & Workout
•Hip-Hop/Rap ◾Alternative Rap
◾Bounce
◾***** South
◾East Coast Rap
◾Gangsta Rap
◾******* Rap
◾Hip-Hop
◾Latin Rap
◾Old School Rap
◾Rap
◾Turntablism (thank you Luke Allfree)
◾Underground Rap
◾West Coast Rap

•Holiday ◾Chanukah
◾Christmas
◾Christmas: Children’s
◾Christmas: Classic
◾Christmas: Classical
◾Christmas: Comedy
◾Christmas: Jazz
◾Christmas: Modern
◾Christmas: Pop
◾Christmas: R&B
◾Christmas: Religious
◾Christmas: Rock
◾Easter
◾Halloween
◾Holiday: Other
◾Thanksgiving

•Indie Pop
•Industrial
•Inspirational – Christian & Gospel ◾CCM
◾Christian Metal
◾Christian Pop
◾Christian Rap
◾Christian Rock
◾Classic Christian
◾Contemporary Gospel
◾Gospel
◾Christian & Gospel
◾Praise & Worship
◾Qawwali (with thx to Jillian Edwards)
◾Southern Gospel
◾Traditional Gospel

•Instrumental ◾March (Marching Band)

•J-Pop ◾J-Rock
◾J-Synth
◾J-Ska
◾J-Punk

•Jazz ◾Acid Jazz (with thx to Hunter Nelson)
◾Avant-Garde Jazz
◾Bebop (thx Mwinogo1)
◾Big Band
◾Blue Note (with thx to Jillian Edwards)
◾Contemporary Jazz
◾Cool
◾Crossover Jazz
◾Dixieland
◾Ethio-jazz (with thx to Jillian Edwards)
◾Fusion
◾Gypsy Jazz (kudos to Mike Tait Tafoya)
◾Hard Bop
◾Latin Jazz
◾Mainstream Jazz
◾Ragtime
◾Smooth Jazz
◾Trad Jazz

•K-Pop
•Karaoke
•Kayokyoku
•Latin ◾Alternativo & Rock Latino
◾Argentine tango (gracias P. Moth & Sandra Sanders)
◾Baladas y Boleros
◾Bossa Nova (with thx to Marcos José Sant’Anna Magalhães & Alex Ede for the reclassification)
◾Brazilian
◾Contemporary Latin
◾Cumbia (gracias Richard Kemp)
◾Flamenco / Spanish Flamenco (thank you Michael Tait Tafoya & Sandra Sanders)
◾Latin Jazz
◾Nuevo Flamenco (and again Michael Tafoya)
◾Pop Latino
◾Portuguese fado (and again Sandra Sanders)
◾Raíces
◾Reggaeton y Hip-Hop
◾Regional Mexicano
◾Salsa y Tropical

•New Age ◾Environmental
◾Healing
◾Meditation
◾Nature
◾Relaxation
◾Travel

­•Opera
•Pop ◾Adult Contemporary
◾Britpop
◾Bubblegum Pop (thx Haug & John Maher)
◾Chamber Pop (thx Haug)
◾Dance Pop
◾Dream Pop (thx Haug)
◾Electro Pop (thx Haug)
◾Orchestral Pop (thx Haug)
◾Pop/Rock
◾Pop Punk (thx Makenzie)
◾Power Pop (thx Haug)
◾Soft Rock
◾Synthpop (thx Haug)
◾Teen Pop

•R&B/Soul ◾Contemporary R&B
◾Disco (not a top level genre Sheldon Reynolds!)
◾Doo ***
◾Funk
◾Modern Soul (Cheers Nik)
◾Motown
◾Neo-Soul
◾Northern Soul (Cheers Nik & John Maher)
◾Psychedelic Soul (thank you John Maher)
◾Quiet Storm
◾Soul
◾Soul Blues (Cheers Nik)
◾Southern Soul (Cheers Nik)

•Reggae ◾2-Tone (thx GFS)
◾Dancehall
◾Dub
◾Roots Reggae
◾Ska

•Rock ◾Acid Rock (with thanks to Alex Antonio)
◾Adult-Oriented Rock (thanks to John Maher)
◾Afro Punk
◾Adult Alternative
◾Alternative Rock (thx Caleb Browning)
◾American Trad Rock
◾Anatolian Rock
◾Arena Rock
◾Art Rock
◾Blues-Rock
◾British Invasion
◾**** Rock
◾Death Metal / Black Metal
◾Doom Metal (thx Kevin G)
◾Glam Rock
◾Gothic Metal (fits here Sam DeRenzis – thx)
◾Grind Core
◾Hair Metal
◾Hard Rock
◾Math Metal (cheers Kevin)
◾Math Rock (thx Ran’dom Haug)
◾Metal
◾Metal Core (thx Ran’dom Haug)
◾Noise Rock (genre – Japanoise – thx Dominik Landahl)
◾Jam Bands
◾Post Punk (thx Ben Vee Bedlamite)
◾Prog-Rock/Art Rock
◾Progressive Metal (thx Ran’dom Haug)
◾Psychedelic
◾Rock & Roll
◾Rockabilly (it’s here Mark Murdock!)
◾Roots Rock
◾Singer/Songwriter
◾Southern Rock
◾Spazzcore (thx Haug)
◾Stoner Metal (duuuude)
◾Surf
◾Technical Death Metal (cheers Pierre)
◾Tex-Mex
◾Time Lord Rock (Trock) ~ (thanks to ‘Melia G)
◾Trash Metal (thanks to Pierre A)

•Singer/Songwriter ◾Alternative Folk
◾Contemporary Folk
◾Contemporary Singer/Songwriter
◾Indie Folk (with thanks to Andrew Barrett)
◾Folk-Rock
◾Love Song (Chanson – merci Marcel Borchert)
◾New Acoustic
◾Traditional Folk

•Soundtrack ◾Foreign Cinema
◾Movie Soundtrack (thanks Julien)
◾Musicals
◾Original Score
◾Soundtrack
◾TV Soundtrack

•Spoken Word
•Tex-Mex / Tejano (with thx to Israel Lopez) ◾Chicano
◾Classic
◾Conjunto
◾Conjunto Progressive
◾New Mex
◾Tex-Mex

•Vocal ◾A cappella (with kudos to Sheldon Reynolds)
◾Barbershop (with thx to Kelly Chism)
◾Doo-*** (with thx to Bradley Thompson)
◾Gregorian Chant (hat tip to Deborah Knight-Nikifortchuk)
◾Standards
◾Traditional Pop
◾Vocal Jazz
◾Vocal Pop

•World ◾Africa
◾Afro-Beat
◾Afro-Pop
◾Asia
◾Australia
◾Cajun
◾Calypso (thx Gerald John)
◾Caribbean
◾Carnatic (Karnataka Sanghetha – thx Abhijith)
◾Celtic
◾Celtic Folk
◾Contemporary Celtic
◾Coupé-décalé (thx Samy) – Congo
◾Dangdut (thank you Achmad Ivanny)
◾Drinking Songs
◾Drone (with thx to Robert Conrod)
◾Europe
◾France
◾Hawaii
◾Hindustani (thank you Abhijith)
◾Indian Ghazal (thank you Gitika Thakur)
◾Indian Pop
◾Japan
◾Japanese Pop
◾Klezmer
◾Mbalax (thank you Samy) – Senegal
◾Middle East
◾North America
◾Ode (thank you Sheldon Reynolds)
◾Piphat (cheers Samy B) – Thailand
◾Polka
◾Soca (thx Gerald John)
◾South Africa
◾South America
◾Traditional Celtic
◾Worldbeat
◾Zydeco
etc...
beth fwoah dream Jun 2015
[you were]

"where love is a song settling in the night"

you were the softness of feathers
and the harsh cadence of grief,
you were the sky’s frail mists
and its glittering pools.
in the warm indigos of summer
i welcomed you home,
the sea with its engine pistons
played loud harmonics,
it wasn't the noise but quiet
i wanted most, the way i wanted you,
star silent, drifting like a boat.

[tonight]

tonight i can't write poetry,
a star is just a star

[shadows on my bones]

"when everything is washed out like faded jeans"

i thought i could stay alive
but there were shadows on my bones,
summer fell through my lips
and washed the colours from my shirt.
i became a lizard in the
dry heat.

the sky layered greys into
clouds, told me how
expressive it could be
and then turned white.
i wasn't going to argue
but i liked it better blue!

when your heart is
full of softness it gathers
the flowers of dusk.

the sea is so far from me
now, how can i remember
a wave or the bluster of
the wind?
i am as forgetful of
shape as foam, i am
as broken as driftwood,
i am the memory of
something that never was,
an impromptu impressionist
painting in ink.

[i've not written]

i've not written for a week.
i need to visualize, feed
on an image, grow out of
immense distance, slumber
on the rocks.
i need to paint a flower
in all its frailty, gather
the skies on the horizon.
until the bright lilies
have drowned me in their
white linens i will not feel whole.
gathering, gathering the world,
its moments stormy rooks.

[love poem]

"where love is a wave that splashes on the sand"

when a heart
loves
the stars surrender
to the heavens,
the moon catches her breath
and the avenues
of silence become
voice. i follow the
path to my love,
i die for him,
i live for him,
like a spartan
in the heat of battle,
like a flower in the
mist.

[summer tide]

the moon, shrunken, faint
as pencil, as if the wild nettles
of night carried her loads.
her glazes the raptures of
dancing stars.
her stencil mark a white crescent
leant on cloud.
the trees shudder in the
wind, break their promises,
forgive no one.  
the tide listens to her rhythms,
traps them in water, distils
her victories, unwraps the dark,
stretches it out.

[out of the night]

out of the night, the softening rain dripping
from leaves and memories hanging like stars
in a northern sky, everything sank to the sea,
sinking in night and song and silence.
everywhere was still, no climbing to the dawn,
no old ghost singing winter to the sky.
it was time to leave, time for the grey ghosts
to crumble, time for the rose beds to sleep.
the morning dew is the water's flowers,
the early frost is the marbling of the earth,
we're pushed to emptiness by the iron-hinged wind,
melt in caves where the shadows lie hid.
from your hair, the glistening drops of rain,
from the air, the flight of a bird,
terrible and black the dark clouds,
where the night utters vowels its voice full of stones,
and its breath an empty pail once filled
with water and the kiss of the moon.

[grey stone sky]

grey stone sky, ghost clouds crying to the wind,
remembering the distant wave.
the moon was the whitening mists of time,
was the quiver of a musical note,
her broad branches silver seas,
her caverns quiet visions of light.
i stride the shores of oblivion where
dark ages hide, where the ocean falls,
i capture infinite moons in my
mouth, capture something bright,
something of you that i bless,
something of you that grows out
of the dark, glimmering like a night frost,
midnight stars dipped in a clear lake
and as the surface gleams and reflects,
how the water ripples in little blue tides.

[i ask you]

i ask you how the water cries, how you hold
the tide, the light, the thin light glistening.
i ask you how you bury root and earth,
how you dress the wind, how you carry
clouds in your mouth, how you drift
out of morning's ghosts, sky full,
how you drift downstream taking
part of me with you. i ask and i ask.
why do you not answer me? tomorrow
stretches her wings, tomorrow with her
tremendous oceans of fire, her dark eyes
full of hope while part of me dies.
no furnace could burn like you burn,
every whisper the dark, the infinite dark,
and that little flame hovering like a bird
a paradise higher than stars.

[the ocean dreams]

the ocean dreams...
colours like burnt kisses,
the blue mist tangles the air.
the shore shook out its creases
like old linen, fell under
the tumbling wave.
i drank the silence,
walking where the moon,
carried along by the song
of a ripple, dipped
her feet in the foam,
dancing, dancing...
beneath her ivory tongue,
a glistening jewel,
her alabaster skin
night's whitest rose,
and where the stars
wrapped december in
ghosts and the
gleaming water was the
quietest echo of love,
i could no longer bear
to be alone, and my tears
were the wilderness
and how it grew inside me,
and everything i loved was there
the wave carrying the wind
and i felt alive, as joyful
as the silver shore, a dark-pooled
painting of you, a river-eyed song.

[sad, sad eyes]

winter fed us with blood-red berries and ice clouds,
our visible breath soon colder than our lips.
i did not want to see what you had seen,
could not grow out of those sad, sad eyes.
we fell into the calm wave of circumstance
and twilight hurried from us into the dark.
hurried away like the last drop of sunlight
purples the earth, dancing on the edge of the world.
do we wait, stone-heavy, for the last tendrils
of day to melt like ice?
the fearful cold breathes like a fog,
gathers its stars of voice and hill,
gathers memories and distant dreams,
lets us forget.
are you the ghost that lies on the hill
calling to me?
are you that ghost,
whose irons soften like cloud,
whose frozen leaf trembles on the branch
waiting to fall to the whispering land?
your eyes are from the past and yet
they follow like a cold wind blasts.
your eyes, everywhere your sad eyes,
biting like a frost.

[do you dream of me?]

my love, you wear silence like a coat
and i am left drifting like a far-out wave.
the wind tangles leaf and sky.
winter is barely noticed, the moon
is a ghost of forgotten flowers where
the night sings to the starry waters,
sings of our love. everything is sailing
like a ship in a bottle, a kaleidoscope  
of brightness, gothic hill and wildflower
ruin, flowing like a silvery stream.
do you dream of me? do you burn when
the night wraps you in her cloak and the moon
unwinds the waters of the seas?
do you dream of me?

[morning]

a bird slid into the wind's
bright paths, awoke
the sound of morning, the
only elegant sound. i sprinkled you
you with the roots of the rain and
with a song sweetened by
sunlight and although you were stunted
and your blue-blossom wings were broken,
and the very earth swam in dark
floods of tears, that little piece of
love was a kingdom as reachable
as your hand touching mine.

[song]

this was a song that lingers in caverns and
caves, scented by sea rose and anemone,
lost kingdoms where we dream of the sea.

this was a song like a whale shivering
through the water, diving into the
impossible dark, with its huge tail
waving, flag-like and star-hungry,
its skin the moon's lips, in a world
with no moonlight, no brightening pools,
and only echoes of a forgotten sun.

how deep do we dive, seals of ink
and overtures of unanswerable
dark? our eyes have been betrayed
many times and the water buries us
whole, takes us to the staccato rhythms
of a ghostly tide, takes us back to
a womb woman whose prayers lie
like whispers on the water, who tells
us to hush and we hear our mother's voice.

these are wild notes that press into the
waves, and i am frightened of this song,
it is dissonant and gathered from the
rivers of night, her tombs overgrown with
wild flowers and the bones of the sea,
and she cries for the lost,
for those that were taken from her,
and she will cry for all eternity
and her tears are like breath of ice.

[winter]

winter buries her flames,
buries whispers of river and leaf,

the sea wraps turquoise into bronze,
everything is full of white bones,

the sky is an illusion of clouds,
her petticoats blue rags,

the day is as heavy as a paperweight,
as brittle as a glass flower,

the light is as naked as the trees
gold could not be more cold,

the sunlight reflects in the snow,
her amber eyes gleam,

nothing flows, nothing flowers,
nothing flows, nothing flowers,

and your smile is the sun,
a ghost as faint as watercolour,

the brush dipped in daylight,
a little part of me.

[waiting]

i stood there waiting like a
nettle with the moon's forget-me-not
eyes, wild flowers overflowing
down the little paths, i was the flower that
no one wanted, a black companion
****.
my cherry mouth was built of
forgotten orchards and swallow's wings,
while my hair was blown by the indigo wind,
the moon tap, tap, tapping on the door.

the whiteness of the land, the colours of
winter and how her song arose out of
the dark, bearing my soul like the
earth rediscovered, glistening in the
light, drawn out of hollows, the shadows
driven back, with a dry root's crazy thirst
that left me longing for rain.
the poetry could not quite free itself
from my lips, dragged me down to
the earth where i staggered with
the lost and the weary. i tried to get back,
but all I could do was sink into the frozen waste.
no, the poetry would not free itself, and
still I waited but it didn't seem to matter
now because leaf and moon and the
frosting that covered my body had left
me like a pale ghost in the wilderness
and all I wanted to do was sink into
the cold cornered night, sink and forget.

[moonflower]

out of the water, the water of ghost pools,
you rose, naked figurehead, oh, flower of night.
an impressionist's brush shook the water
like light reflected on moonstone.
****** of prisms, flowering, flowering,
lost ocean of star voices, forgotten star.
you sang and the night ran towards the sea,
you blossomed and the night became a wanderer.
nectar of the gods, sky-visionary, you sink into
the night like the petal of a rose, the grass almond-
eyed and whispering to you her dreams, fluttering
like a butterfly; little moonflower, you gather
the shadows and the song of the dark, the
drift of the clouds is your bare feet running,
the drift of the clouds, the cold sea crashing
in the harbour, the drift of the clouds,
the incredible overflowing of sky, poet-
ink and straying hair, the drift of
the clouds, everything that scatters
like you on the wind.

[we seek...]

we seek the ocean in the palm of our hands,
breath is the frailties of a winter sky,

the stars are reflections in a mirror of bone.

we are carried by the wind into strange avenues
where we fall like leaves, dance into the indigos

of the washed out sky, haunt the dimming light like night
blossoms and dies, her rivers burning like fire.

we awaken in the eastern
sky washing slumber from our eyes, yawning

and day drops her heavy nets into the waters
of the sun and drowns out the voice of the dark.

flowers settle in the morning, capturing
the silence of the hills in petals of water and light,

and we drink passion and ink, we drink the colours
of our emotions and walk without hesitation towards the light.

[song of the wind]

the wind has something of your wild song,
whispers in a voice i knew long ago.

there is nothing here accept the empty wind,
nothing of you and me,

i could paint the silence with the moon,
kiss your mouth, touch your hair....

but we are forgotten like this song
of the wind, and in the emptiness

i can hear the faltering wave
fall against the belly of the sand

running like the white clouds
race through the sky,

where the stars fall like old ruins,
this ghost dance of stars, these crashing,

crashing waves. where is the freedom
of the falling water?

not in the breath of the earth,
not in the silvering of the sea.

[you are neither]

my love, you are neither the morning
with her bright unwinding hills

or the night, with her nets of silver stars,
you are not the sea whispering.

you are hidden from the world, an alpine
rose that nobody sees.

you flower like the sky makes its way
out of the dark, her archipelagos  

thrown to the wind, there to discover
like a frost that whitens the earth and

leaves its footprints in the leaves.

you are neither the moon, my love,
that waits at your feet

nor the sun that burns like the
summer with her mute fire. you

are none of these things and yet all  
these things carry me to you,

like a drifting cloud longing
for the waters of the night.

[those brief moments of heaven]

the land was a slumbering bird that had not yet opened
its eyes. the morning roared like a thunder

cloud and i gazed at the sky with her cornflower blues
and orchestral flutes, her dark bones whitening

in the yellow-threaded light. silence wrapped me like
a shawl, and love settled on my shoulders like

a bird. it was too early for the swallow to return
with its spring-tinted wings, the winter settled

in the nooks and crannies of the earth, sweet
as your mouth, crisp and cold as the ashen north.

and while you lay beside me, warm, nocturnal
and dreaming of the sea, i kissed your lips

and told you to hush, not because you had spoken but
because night had been so gentle to you that i

wanted to keep you wrapped in her star-scented arms.

[silence]

silence moored like a boat in the harbour,
and you flew against the horizon like a bird  

until my mouth was the night with its hungry stars
and you were the sea wind.

you were the night flowering, a ripple on
the surface of the water, the dreams of the ocean...

your eyes told me that history is made of a
a thousand bleeding wounds, your lips that

kisses are petals falling from a rose
and that we wait like old moons for night

to melt on the shore and set us free, we wait,
unquestionably free, for her gathering of

iris and blue bird, for her beautiful
and melancholy song.

[february]

the light, the faint curtain that draws across day,
far from night's shadows, creature of fire,

revolves, drops white nets into the sea-earth,
where ice and the aching frost cry out

and the soil hardens with its harsh, freezing edge.

we are deaf and blind, numb of limb
like the thin trees and the specter-sky,

blue and forlorn, dreaming our winter dreams...

and through the cold walls i can hardly draw
a smile, sad as a silver leaf the autumn forgot.

it is you who lifts me from the ground, somehow,
like an april shoot seeking the sun, somehow,

my bones as frail as a bird and yet
when the air stirs my blood and i stare into

the amber notes of the wind, the unforgiving land
buckles and breaks and i return to the

kernel of your heart and even the icy
lakes and the weighty forest you loved

under your skin that the light waits to
warm, forget their cold death, breathe

like summer returning to a distant shore.

[empty of light]

there is nothing of you in this late hour,
i have no voice to wrap you in tenderness,
and i wait for your arrival like a starless sky,
empty of light, the ocean's forgetful voyage,
the sinking wave coaxed to grow out of the dark.
the trees are motionless, branches fall silent in the night,
like ghosts against the sky. i am empty of light,
drawn out of memories and blue air,
a crystal that breaks, bound to the wide earth
and the white dust of immeasurable hills. i think i am
still, small as a bird, and i know that i long for you,
that the hunger never leaves me for long, colouring
dry paper with the gleam of a harbour-like moon.

[you grew]

you grew out of the tangling black,
those carefree tides that lead to the moon.

the stars i thought were silver knots
would not unwind, danced on the horizon,

softened like the white mist that gathered
the sky and the dark rose of your eyes.

you filled with the quiet of the hills
and i watched as your ghost

started to tell me goodbye, that
ghost whose seas were frozen in the night,

the ghost i loved, and everything that
was fire in me carved the words into

the night's magnolia net and the words
were; " i don't want you to go".


[loving you...where love is a pretty handwritten page]

loving you is like waiting for the spring,
the love that winds around my fingers

a stream that will fill with the most beautiful light.
when you open your eyes to my kisses,

i fill with the summer and the bright stars,
so chill with loneliness, leave.

i forget that the moon hangs like a
silver leaf in a sky of swallow's song,

while the rose that winter stole,
that died in my lovelorn arms,

left like the impressionist the water loved,
until all i could see was the dreams

of the water, and all i could feel was
the sleeping of the dark.

[winter faded]

winter faded like old parchment, drawn in charcoal
the trees waited for the inevitable colours of spring.

your voice coloured silence and left me standing
away from the crowd with my head inclined to yours,

listening to you, the shadows swept away and your
voice like the moonlight, the blue inks of the sea.

i watched you unwind night skies and the night stars
that burnt in the rivery realms of lost ruins and whispering

dreams, fell like dead men before your passion and there
was no reasoning with what you believed and you had

no compassion for the world. hatred fired up before
my forgiveness and you could not forgive. how many

oceans scattered their flowers and light, how many
armies fell before the burning amber of your eyes?

[i thought i understood the water]

i thought i understood the water,
the silver whispers of stream,
dying the way sadness sighs  
like a star.

the water didn't bring me to
you or you to me.

you were not the shimmer of a
fish.

you were the light reflecting,
bold splashes of colour
on a bold canvas. you

were night when i could
hardly bear the night and you
fell through me

like twilight bringing black
marble moons and watery ghosts.

i thought i understood the water.
i thought the stars painted your
reflection on my lips,

but the silver whispers were not
sad they were happy and
i wondered how i ever
found them sad.

[where]

where every poem starts
and every ends,
where we are stunned,
where we are thirsty and the thirst is
never quenched,
where there is something that breaks
and i can't bring back although it
burns me to dust, love was not our
miracle but the dying was, the flames
never quenched like the blues of the stars
little rivers,
don't bring me fire to bury me in flame,
bring me oceans of black ink to colour
the night, bring me your love.

[early summer]

the light flutters like ribbons,
the light gold leaf and flickering

amber, the light tenuous in her
gentleness, slumbering with her whims

and her sleep of blue earth, and air,
breath of joy, breath of dust.

night holds us and her daydreams are
a forgotten song, and night is like

the streams of water that awaken with
summer and her cool rivers of air. night with

her paradise far from the gathering
of limb and ledge, far from the leaves

of the dusk where the shadows tremble and the
water turns itself into tears, and we hear the

ghosts cry to the pretty sky,
sometimes we hear the ghosts cry.
Nigel Morgan Nov 2012
(poems from the Chinese translated by Arthur Waley)

Last night the clouds scattered away;
A thousand leagues, the same moonlight scene.
When dawn came, I dreamt I saw your face;
It must have been that you were thinking of me.
In my dream, I thought I held your hand
And asked you to tell me what your thoughts were.
And you said: ‘I miss you bitterly . . . “

As Helen drifted into sleep the source of that imagined voice in her last conscious moment was waking several hundred miles away. For so long now she was his first and only waking thought. He stretched his hand out to touch her side with his fingertips, not a touch more the lightest brush: he did not wish to wake her. But she was elsewhere. He was alone. His imagination had to bring her to him instead. Sometimes she was so vivid a thought, a presence more like, that he felt her body surround him, her hand stroke the back of his neck, her ******* fall and spread against his chest, her breath kiss his nose and cheek. He felt conscious he had yet to shave, conscious his rough face should not touch her delicate freckled complexion . . . but he was alone and his body ached for her.

It was always like this when they were apart, and particularly so when she was away from home and full to the brim with the variously rich activities and opportunities that made up her life. He knew she might think of him, but there was this feeling he was missing a part of her living he would never see or know. True, she would speak to him on the phone, but sadly he still longed to read her once bright descriptions that had in the past enabled him to enter her solo experiences in a way no image seemed to allow. But he had resolved to put such possible gifts to one side. So instead he would invent such descriptions himself: a good, if time-consuming compromise. He would give himself an hour at his desk; an hour, had he been with her, they might have spent in each other’s arms welcoming the day with such a love-making he could hardly bare to think about: it was always, always more wonderful than he could possibly have imagined.

He had been at a concert the previous evening. He’d taken the train to a nearby town and chosen to hear just one work in the second part. Before the interval there had been a strange confection of Bernstein, Vaughan-Williams and Saint-Saens. He had preferred to listen to *The Symphonie Fantastique
by Hector Berlioz. There was something a little special about attending a concert to hear a single work. You could properly prepare yourself for the experience and take away a clear memory of the music. He had read the score on the train journey, a journey across a once industrial and mining heartland that had become an abandoned wasteland: a river and canal running in tandem, a vast but empty marshalling yard, acres of water-filled gravel pits, factory and mill buildings standing empty and in decay. On this early evening of a thoroughly wet and cold June day he would lift his gaze to the window to observe this sad landscape shrouded in a grey mist tinted with mottled green.

Andrew often considered Berlioz a kind of fellow-traveller on his life’s journey of music. Berlioz too had been a guitarist in his teenage years and had been largely self-taught as a composer. He had been an innovator in his use of the orchestra and developed a body of work that closely mirrored the literature and political mores of his time.  The Symphonie Fantastique was the ultimate love letter: to the adorable Harriet Smithson, the Irish actress. Berlioz had seen her play Ophelia in Shakespeare’s Hamlet (see above) and immediately imagined her as his muse and life’s partner. He wrote hundreds of letters to her before eventually meeting her to declare his love and admiration in person. A friend took her to hear the Symphonie after it had got about that this radical work was dedicated to her. She was appalled! But, when Berlioz wrote Lélio or The Return to Life, a kind of sequel to his Symphonie, she relented and agreed to meet him. They married in 1833 but parted after a tempestuous seven years. It had surprised Andrew to discover Lélio, about which, until quite recently, he had known nothing. The Berlioz scholar David Cairns had written fully and quite lovingly about the composition, but reading the synopsis in Wikipedia he began to understand it might be a trifle embarrassing to present in a concert.

The programme of Lélio describes the artist wakening from these dreams, musing on Shakespeare, his sad life, and not having a woman. He decides that if he can't put this unrequited love out of his head, he will immerse himself in music. He then leads an orchestra to a successful performance of one of his new compositions and the story ends peacefully.

Lélio consists of six musical pieces presented by an actor who stands on stage in front of a curtain concealing the orchestra. The actor's dramatic monologues explain the meaning of the music in the life of the artist. The work begins and ends with the idée fixe theme, linking Lélio to Symphonie fantastique.


Thoughts of the lovely Harriet brought him to thoughts of his own muse, far away. He had written so many letters to his muse, and now he wrote her little stories instead, often imagining moments in their still separate lives. He had written music for her and about her – a Quintet for piano and winds (after Mozart) based on a poem he’d written about a languorous summer afternoon beside a river in the Yorkshire Dales; a book of songs called Pleasing Myself (his first venture into setting his own words). Strangely enough he had read through those very songs just the other day. How they captured the onset of both his regard and his passion for her! He had written poetic words in her voice, and for her clear voice to sing:

As the light dies
I pace the field edge
to the square pond
enclosed, hedged and treed.
The water,
once revealed,
lies cold
in the still air.

At its bank,
solitary,
I let my thoughts of you
float on the surface.
And like two boats
moored abreast
at the season’s end,
our reflections merge
in one dark form.


His words he felt were true to the model of the Chinese poetry he had loved as a teenager, verse that had helped him fashion his fledgling thoughts in music.

And so it was that while she dined brightly with her team in a Devon country pub, he sat alone in a town hall in West Yorkshire listening to Berlioz’ autobiographical and unrequited work.

A young musician of extraordinary sensibility and abundant imagination, in the depths of despair because of hopeless love, has poisoned himself with *****. The drug is too feeble to **** him but plunges him into a heavy sleep accompanied by weird visions. His sensations, emotions, and memories, as they pass through his affected mind, are transformed into musical images and ideas. The beloved one herself becomes to him a melody, a recurrent theme [idée fixe] which haunts him continually.

Yes, he could identify with some of that. Reading Berlioz’ own programme note in the orchestral score he remembered the disabling effect of his first love, a slight girl with long hair tied with a simple white scarf. Then he thought of what he knew would be his last love, his only and forever love when he had talked to her, interrupting her concentration, in a college workshop. She had politely dealt with his innocent questions and then, looking at the clock told him she ‘had to get on’. It was only later – as he sat outside in the university gardens - that he realized the affect that brief encounter might have on him. It was as though in those brief minutes he knew nothing of her, but also everything he ever needed to know. Strange how the images of that meeting, the sound of her voice haunted him, would appear unbidden - until two months later a chance meeting in a corridor had jolted him into her presence again  . . . and for always he hoped.

After the music had finished he had remained in the auditorium as the rather slight audience took their leave. The resonance of the music seemed to be a still presence and he had there and then scanned back and forward through the music’s memory. The piece had cheered him, given him a little hope against the prevailing difficulties and problems of his own musical creativity, the long, often empty hours at his desk. He was in a quiet despair about his current work, about his current life if he was honest. He wondered at the way Berlioz’ musical material seemed of such a piece with its orchestration. The conception of the music itself was full of rough edges; it had none of that exemplary finish of a Beethoven symphony so finely chiseled to perfection.  Berlioz’ Symphonie contained inspired and trite elements side by side, bar beside bar. It missed that wholeness Beethoven achieved with his carefully honed and positioned harmonic structures, his relentless editing and rewriting. With Berlioz you reckoned he trusted himself to let what was in his imagination flow onto the page unhindered by technical issues. Andrew had experienced that occasionally, and looking at his past pieces, was often amazed that such music could be, and was, his alone.

Returning to his studio there was a brief text from his muse. He was tempted to phone her. But it was late and he thought she might already be asleep. He sat for a while and imagined her at dinner with the team, more relaxed now than previously. Tired from a long day of looking and talking and thinking and planning and imagining (herself in the near future), she had worn her almost vintage dress and the bright, bright smile with her diligent self-possessed manner. And taking it (the smile) into her hotel bedroom, closing the door on her public self, she had folded it carefully on the chair with her clothes - to be bright and bright for her colleagues at breakfast next day and beyond. She undressed and sitting on the bed in her pajamas imagined for a brief moment being folded in his arms, being gently kissed goodnight. Too tired to read, she brought herself to bed with a mental list of all the things she must and would do in the morning time and when she got home – and slept.

*They came and told me a messenger from Shang-chou
Had brought a letter, - a simple scroll from you!
Up from my pillow I suddenly sprang out of bed,
And threw on my clothes, all topsy-turvey.
I undid the knot and saw the letter within:
A single sheet with thirteen lines of writing.
At the top it told the sorrows of an exile’s heart;
At the bottom it described the pains of separation.
The sorrows and pains took up so much space
There was no room to talk about the weather!
The poems that begin and end Being Awake are translations by Arthur Waley  from One Hundred and Seventy Poems from the Chinese published in 1918.
Qweyku May 2014
Loves' tribute;
was a traumatic bloodletting,
at the feet of Earths' foundation,
passed over through resurrection,
as the author; Perfect,
penned the first song,
startling in Red;
chorused;
Sacrifice and Redemption.

A soul melody,
padlocked on repeat,
a key,
to live,
to move,
to exist;
the act of human being.

A dance of humiliating instruction,
'twas the universe's orchestra simply conducting;
a priceless,
yet eternal concerto,
forever titled...
‘Unique-Spring-Awakening’


**© Qwey.ku
Stephen E Yocum Aug 2018
A steady cadence  
pulsing in a heart beat
like rhythm, voices
and strummed instruments
all in harmonized concert,
An orchestral multitude,
of frogs and crickets,
never tiring or ceasing,

How many must there be,
to render such a cacophony?
Sustained and loud enough
to keep city folk wide awake.

Nature's Music of the night,
should you but choose to listen.
How do they do that, all night
with absolutely no intermission?

A crescendo finale triggered
only by the coming dawn's
first light, and the boastful
crowing calls of our cocky
persistent red rooster chicken.

Where these musicians go in
daylight is anybody's guess.
To sleep I suspect, deserved
resting up for yet another
night of endless music.
Another value added feature
of living out in the country. Night
voices lulling me to sleep outside
my open window/screen.
Umi  Apr 2018
Maestra
Umi Apr 2018
The gentle tone of her teaching,
In wonderous melodies, orchestral knowledge from a sweet teacher,
Education set by the awareness of harmonizing, delicate instruments,
Wisdom and foresight, cast by no other judgement but of a conductor,
Whomst hand leads to the ups and downs of the intensity, recognised
Ensembling in the beauty of a sinfonietta, sounds flows uninterrupted
Let the singing pendulum to your mistress's pleasure fall to the bottom, attached to the chipped illusionists mask of anticipation!
To this dance the mascarade does not crack in the shadow of sound,
A wise scholar would not sacrifice one topic relevant to learn to the passing time, to her students unfortune that is, cast in pure grief,
A wise conductor does the same with musical notes, the story flows,
With the moon high in the sky, time stands in her way, questioning her to dance with the devil amongst a distorted, whicked dark,
But resillient to the end, tough and with no distraction taking her focus the director of this event finishes the creation of art, an orchestra
A craftwoman of tempo and elegance always stands out after all, bringing the musical score to life.

~ Umi
matt d mattson Aug 2013
When I saw her
The first woman with the first wide eyes
Bright and light and dark and deep
With life and mystery
My heart beat like the first hand struck the first drum
And the first song was sung
In dark caves of ten times ten thousand years ago

When I first breathed that first scent
My sight stopped
My mind stopped
My mind was my body and my hands and my gut
And my legs extending to the ground and the earth and time
And it slowed down like an ice age beginning
Then it melted into warm fire
Where it burned

The first touch of the first woman
Was electrical chemical radioactive bliss
Every piece of matter in me wanted to move and dance and shake and fly apart
The spark from the start of her heart beat
Crossed through the fibers and
Traveled down the pathways of her body
Down the chemical electric synapses
Through her arm and jumped across to my hand
And traveled up and started a new beat
It was a faster, and stronger beat
And it beat
And it beat
Like the first dance,
Shook with the slap and smack of ground and hands and feet

Oh the first woman was all women
And then there were other women
And they were people
Flesh and blood
And minds and thoughts
And feelings that I could not feel
Good and bad and indifferent
With hangups and problems
Blemishes and baggage
I met women coming
Women going
Here and there
Now and then
For coffee, for beer,
One evening or ten
I met scientists, nurses
bartenders and baristas.
Living lives I didn't mind
Giving time when it was mine
Asking for things I couldn't find

Then I saw You
All of you
In time and space and speed

I caught the scent of you
Your fragrance and perfume
And the primal musk of you
That fatal lusts allure

I felt you
The gravity of your body from across the room
Your electro-magnetic force pulling
Pressure of the displaced particles pushing
As you walked so slowly towards me

And time stopped
Light and sound and movement were captured
Captive to your hypnotic sway
Prisoner to your power over my perception
You moved through the still air
And it swept aside like a curtain as you passed
The world was quiet

And then it pounded  
The pressure of it filled the air and everything around it
As you moved closer,
Like ride of the Valkyries
Rising and crashing in waves
It rose as you moved towards me
You carried it in your wake
And then it was a crescendo
A vast overpowering transcendent orchestral cacophony
Of immense intense sound and light and energy erupting
Cymbals crashed and horns blew and strings snapped under the pressure of the vibrations
Brilliant fireworks exploded in the black sky of your brown eyes
As you stopped a few feet from me

And time was stopped
You were the first woman
You were all women
You are
The only woman
Brian O'blivion Oct 2013
where solar lips are parted
and crescent ******* hardened
cobalt fire licks your name off its oldest breath
this ****** hollow bends its neck through thermal skies and sand
scarlet waves of heat off your (sweet ancestral) hand
come inside, the door is open. the answer's always yes

Medusa’s gaze would turn to sand
if she knew the stony glories spanned
within rock candy walls ablaze
flood plains carry hydrogen freight
from your abyss' collapsing weight
the broken ***** flowers rusting in the haze

long stem bows in the cut orchestral
steal blood from the times ancestral
the ink has spilled and left a stain
under folded layers of skin
that the mirror reflects from views within
your eyes are naked lights, innumerable and plain.
retrofitted, edited and repurposed...like, simultaneously...
Third Eye Candy Apr 2013
i look back
and i can't seem to feel it
but i do
and you know-
and you see right thru
it's golden hurt
that lasts always...
and the way that it hurts
is the worst.  but it works my heaven bones
and it drones orchestral
a violent choir of jubilation and startled sparrows !
you leave me no choice and that is beautiful.
my slavery is so free
i could leave you
to come back
to me.

by now.

— The End —