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[cliffcrego]

RECORDED THIS SUMMER, at a beautiful alpine lake in the North WALLOWAS

[cliffcrego]

GET POSTER PRINT OF text & Leopard Frog picturepoems.zenfolio.com/img/s/v-10/p…801997-4.jpg

As I’m sure regular listeners are aware, I use a number of teaching aphorisms or sutras that work in a rhetorical way to stop thought and our normal, habitual way of thinking about ourselves and the world dead in its tracks.

They are a bit confusing at first, but only for the first few years.

In music I say things like, “Pitch doesn’t exist,” with the implication that what DOES exist is a living movement of energy, of sound, which is beyond description.

I also say, “There is no conflict in nature.” Here, the underlying meaning is that life is a movement of relationship, and that thought unaware of itself has the unique distinction of generating endless war with itself and everything around it. It is the defining feature of our species, I think. The idea is that, through awareness, this destructive nature of thought is suspended. Perhaps even totally dissipated. This is when real relationship, real dialogue, real music or poetry begins.

In this spirit, this new DRSGON CURVE ENSEMBLE piece—always based on some sort of fractal mathematics (here the CANTOR SET); always the same 12 instruments: 2 grandpianos, 2 piccolos, 2 horns, 2 trumpets, 2 trombones, and 2 tubas—showcases one of my more hopelessly difficult sayings, about the difference between CONTROL and LIMIT. But the difference becomes self-evident once we drop legacy and are welling to question everything, especially organized religion (ie., any religion that has a name, including not just Christianity, but also Buddhism.)

To get yourself started on this fascinating journey, just try thinking back when you were a child, and the difference of discipline being forced upon you—i.e.,control— and the movement of the energy we call insight or play which comes always from within. The violence of control arises evidently from FALSE DUALITY, the skier that forces the mere IDEA of a beautiful turn (like me) so there is always a CONTROLLER—God—and the CONTROLLED—us poor sinners who are about to fall. Or the pianist that plays through his or her eyes, and not via an inner vision of the sound. Or merely projecting the idea of PEACE (as all religions do), instead of the vastly more difficult timeless daily practice of NONVIOLENCE.

[cliffcrego]

GET POSTER PRINT OF text & Leopard Frog picturepoems.zenfolio.com/img/s/v-10/p…801997-4.jpg

As I’m sure regular listeners are aware, I use a number of teaching aphorisms or sutras that work in a rhetorical way to stop thought and our normal, habitual way of thinking about ourselves and the world dead in its tracks.

They are a bit confusing at first, but only for the first few years.

In music I say things like, “Pitch doesn’t exist,” with the implication that what DOES exist is a living movement of energy, of sound, which is beyond description.

I also say, “There is no conflict in nature.” Here, the underlying meaning is that life is a movement of relationship, and that thought unaware of itself has the unique distinction of generating endless war with itself and everything around it. It is the defining feature of our species, I think. The idea is that, through awareness, this destructive nature of thought is suspended. Perhaps even totally dissipated. This is when real relationship, real dialogue, real music or poetry begins.

In this spirit, this new DRSGON CURVE ENSEMBLE piece—always based on some sort of fractal mathematics (here the CANTOR SET); always the same 12 instruments: 2 grandpianos, 2 piccolos, 2 horns, 2 trumpets, 2 trombones, and 2 tubas—showcases one of my more hopelessly difficult sayings, about the difference between CONTROL and LIMIT. But the difference becomes self-evident once we drop legacy and are welling to question everything, especially organized religion (ie., any religion that has a name, including not just Christianity, but also Buddhism.)

To get yourself started on this fascinating journey, just try thinking back when you were a child, and the difference of discipline being forced upon you—i.e.,control— and the movement of the energy we call insight or play which comes always from within. The violence of control arises evidently from FALSE DUALITY, the skier that forces the mere IDEA of a beautiful turn (like me) so there is always a CONTROLLER—God—and the CONTROLLED—us poor sinners who are about to fall. Or the pianist that plays through his or her eyes, and not via an inner vision of the sound. Or merely projecting the idea of PEACE (as all religions do), instead of the vastly more difficult timeless daily practice of NONVIOLENCE.

[cliffcrego]

THIS IS A little improvised introduction to #Dialogue & what I call the red circle of 10 primary problems. Download referred to 100 MINIATURE posters I refer to at: (1) 10 PRIMARY PROBLEMS web bit.ly/1DrNyJV pdf bit.ly/1BuI9VX (2) DOUBLE CIRCLE of DIALOGUE web bit.ly/1DrOpu8 pdf bit.ly/1DrOIVX (3) ZERO WASTE web bit.ly/1zQMqyt pdf bit.ly/1zQMwGf (4) RIGHT ACTION INF THE FACE OF RUNAWAY CLIMATE CHANGE web bit.ly/1Cfbgh8 pdf bit.ly/1CfbmFG

FOR BACKGROUND ON Krishnamurti: The Story of Krishnamurti: W/ A Silent Mind bit.ly/16gVO6Q "Outside all Space & beyond all Time" #nonviolence #dialogue #meditation

FOR THE K/BOHM dialogues [for some reason, I prefer studying them 12 to 1, backwards...]: LISTENING: #KRISHNAMURTI & #DavidBohm in dialogue: Can the brain free itself from all self-delusion? (12/12) bit.ly/1709AaD

MUSIC featured in header & coda is from THE MAGIC BOX project, "The Little Triangle," for #vibraphone & #marimba; it's a little Stravinsky-like study on 4 in the time of 3. The webscore is at: bit.ly/1wG9jDo pdf bit.ly/1CfchWI mp3 bit.ly/1wGakeF

[cliffcrego]

Nonviolence. Metaphysics. Dialogue. Mathematics. Physics. Time. Space. Krishnamuti. Dialogue. Revolution. Education. Relationship.

[cliffcrego]

THINK OF A RIVER is through-composed set of 11 soundpoems, all but one of which is from 2018. There are about eight or nine different species of Poetry & Music, all of which emerge out of a concern for the confluence of movement, energy, and meaning, but also the music's resonance with the repertoire metaphysical urgencies of the present moment.

[cliffcrego]

A bright, unique ensemble sound, based on short metaphysical texts & the new spirit of fractal mathematics...

[cliffcrego]

IMAGE: Prayer Flags, Montana Sky...

[cliffcrego]

IMAGE: The spiraling wood of a Whitebark pine snag, Eagle Cap Wilderness, OREGON. This tree was very likely already dead before Lewis & Clark passed by in 1805/06 not far north of here. Whitebarks, which can reach a thousand or more years of age, live in a much slower timespace, much like the musical movement of the piece featured here, THE SCOURGE OF DISINFORMATION.

The avian soloist which begins the piece is the Lark Sparrow(Chondestes grammacus). I call them the “One Man Band” of the sagebrush steppe because of the marvelously rich complexity of their music. Lark Sparrows are the less visible companion of the Western Meadowlark. They are a true joy of high country buckwheat biscuitroot desert spring. No disinformation here!

(Here's another LARK SPARROW field recording made around Summer Solstice in the South WALLOWAS: Cliff-crego – Zoom0114_mono-m4a

The YIDAKI (also called sometimes a DIDG or DIDGERIDOO or MAGO) ground is played by Australian new music trombone virtuoso, Simone de HAAN.

A KEY FEATURE of my NEW MUSIC, POETRY & DANCE PROJECT The Circle in the Square www.cs-music.com is its new philosophy of living sound. SEE soundcloud.com/cliff-crego/sets/the-circle-in-the-square-a-new This is in an interesting way connected to THE SCOURGE OF DISINFORMATION.

The piece is dedicated to David JENSEN--our finest photographer in OREGON www.djensenphotography.com/ -- and his Australian/American wife, Cathy PATTERSON. Cathy is connected to this piece by way of a beautiful letter she sent to my Office a while back about TUNINGS in Western Music, especially about ideas around the meaning of lower standard reference frequencies like A 432 instead the currently dominant A 440.

Instead of talking about this here, I thought it might be better to demonstrate a much wider circle of of thinking about sound as flowing movement which features a slow turning from SIMPLE to COMPLEX and back, with sounds within sounds (some based on A 432, some based on Equal Temperament 12th root of 2 A 440, some Phythagorean and following the natural whole numbers of freely vibrating columns of air....). These all, it seems to me, can happily co-exist and both balance and complement each other.

Perhaps this is true even for our Lark Sparrow, a far better musician than any of us, I think, might agree!

[cliffcrego]

IMAGE: The spiraling wood of a Whitebark pine snag, Eagle Cap Wilderness, OREGON. This tree was very likely already dead before Lewis & Clark passed by in 1805/06 not far north of here. Whitebarks, which can reach a thousand or more years of age, live in a much slower timespace, much like the musical movement of the piece featured here, THE SCOURGE OF DISINFORMATION.

The avian soloist which begins the piece is the Lark Sparrow(Chondestes grammacus). I call them the “One Man Band” of the sagebrush steppe because of the marvelously rich complexity of their music. Lark Sparrows are the less visible companion of the Western Meadowlark. They are a true joy of high country buckwheat biscuitroot desert spring. No disinformation here!

(Here's another LARK SPARROW field recording made around Summer Solstice in the South WALLOWAS: Cliff-crego – Zoom0114_mono-m4a

The YIDAKI (also called sometimes a DIDG or DIDGERIDOO or MAGO) ground is played by Australian new music trombone virtuoso, Simone de HAAN.

A KEY FEATURE of my NEW MUSIC, POETRY & DANCE PROJECT The Circle in the Square www.cs-music.com is its new philosophy of living sound. SEE soundcloud.com/cliff-crego/sets/the-circle-in-the-square-a-new This is in an interesting way connected to THE SCOURGE OF DISINFORMATION.

The piece is dedicated to David JENSEN--our finest photographer in OREGON www.djensenphotography.com/ -- and his Australian/American wife, Cathy PATTERSON. Cathy is connected to this piece by way of a beautiful letter she sent to my Office a while back about TUNINGS in Western Music, especially about ideas around the meaning of lower standard reference frequencies like A 432 instead the currently dominant A 440.

Instead of talking about this here, I thought it might be better to demonstrate a much wider circle of of thinking about sound as flowing movement which features a slow turning from SIMPLE to COMPLEX and back, with sounds within sounds (some based on A 432, some based on Equal Temperament 12th root of 2 A 440, some Phythagorean and following the natural whole numbers of freely vibrating columns of air....). These all, it seems to me, can happily co-exist and both balance and complement each other.

Perhaps this is true even for our Lark Sparrow, a far better musician than any of us, I think, might agree!

[cliffcrego]

RECORDED above 6 Mile Meadow, West Forth of the WALLOWA RIVER, Eagle Cap Wilderness, OREGON VIII.25.2019. I ran out of #Sun2Sound, so this is just the first part, with the first two of the quartet of aphorisms.

[cliffcrego]

RECORDED at St.PAULS CHURCH, FREO, WA...with special heartfelt thanks...PHOTO, Simone de HAAN

[cliffcrego]

Should be played without conductor, without music. The tempo tree for the whole is based on the ratio of 5 to 4, which in musical SPACE is the equivalent of a major 3rd.

More percussion music at www.cs-music.com/drums

The webscore of the simplified study version LOCK 'EM UP is at: www.cs-music.com/drums/study_1_1.html

AND the pdf is at: www.cs-music.com/drums/study_1.pdf

PARTS of simplified version (without instruments) are at: www.cs-music.com/drums/study_1.pdf

[cliffcrego]

IMAGE: The spiraling wood of a Whitebark pine snag, Eagle Cap Wilderness, OREGON. This tree was very likely already dead before Lewis & Clark passed by in 1805/06 not far north of here. Whitebarks, which can reach a thousand or more years of age, live in a much slower timespace, much like the musical movement of the piece featured here, THE SCOURGE OF DISINFORMATION.

The avian soloist which begins the piece is the Lark Sparrow(Chondestes grammacus). I call them the “One Man Band” of the sagebrush steppe because of the marvelously rich complexity of their music. Lark Sparrows are the less visible companion of the Western Meadowlark. They are a true joy of high country buckwheat biscuitroot desert spring. No disinformation here!

(Here's another LARK SPARROW field recording made around Summer Solstice in the South WALLOWAS: Cliff-crego – Zoom0114_mono-m4a

The YAKIDA (also called sometimes a DIDG or DIDGERIDOO or MAGO) ground is played by Australian new music trombone virtuoso, Simone de HAAN.

A KEY FEATURE of my NEW MUSIC, POETRY & DANCE PROJECT The Circle in the Square www.cs-music.com is its new philosophy of living sound. SEE soundcloud.com/cliff-crego/sets/the-circle-in-the-square-a-new This is in an interesting way connected to THE SCOURGE OF DISINFORMATION.

The piece is dedicated to David JENSEN--our finest photographer in OREGON www.djensenphotography.com/ -- and his Australian/American wife, Cathy PATTERSON. Cathy is connected to this piece by way of a beautiful letter she sent to my Office a while back about TUNINGS in Western Music, especially about ideas around the meaning of lower standard reference frequencies like A 432 instead the currently dominant A 440.

Instead of talking about this here, I thought it might be better to demonstrate a much wider circle of of thinking about sound as flowing movement which features a slow turning from SIMPLE to COMPLEX and back, with sounds within sounds (some based on A 432, some based on Equal Temperament 12th root of 2 A 440, some Phythagorean and following the natural whole numbers of freely vibrating columns of air....). These all, it seems to me, can happily co-exist and both balance and complement each other.

Perhaps this is true even for our Lark Sparrow, a far better musician than any of us, I think, might agree!

[cliffcrego]

IMAGE: The spiraling wood of a Whitebark pine snag, Eagle Cap Wilderness, OREGON. This tree was very likely already dead before Lewis & Clark passed by in 1805/06 not far north of here. Whitebarks, which can reach a thousand or more years of age, live in a much slower timespace, much like the musical movement of the piece featured here, THE SCOURGE OF DISINFORMATION.

The avian soloist which begins the piece is the Lark Sparrow (Chondestes grammacus). I call them the “One Man Band” of the sagebrush steppe because of the marvelously rich complexity of their music. Lark Sparrows are the less visible companion of the Western Meadowlark. They are a true joy of high country buckwheat biscuitroot desert spring. No disinformation here!

(Here's another LARK SPARROW field recording made around Summer Solstice in the South WALLOWAS: Cliff-crego – Zoom0114_mono-m4a

The YAKIDA (also called sometimes a DIDG or DIDGERIDOO or MAGO) ground is played by Australian new music trombone virtuoso, Simone de HAAN.

A KEY FEATURE of my NEW MUSIC, POETRY & DANCE PROJECT The Circle in the Square www.cs-music.com is its new philosophy of living sound. SEE soundcloud.com/cliff-crego/sets/the-circle-in-the-square-a-new This is in an interesting way connected to THE SCOURGE OF DISINFORMATION.

The piece is dedicated to David JENSEN--our finest photographer in OREGON www.djensenphotography.com/ -- and his Australian/American wife, Cathy PATTERSON. Cathy is connected to this piece by way of a beautiful letter she sent to my Office a while back about TUNINGS in Western Music, especially about ideas around the meaning of lower standard reference frequencies like A 432 instead the currently dominant A 440.

Instead of talking about this here, I thought it might be better to demonstrate a much wider circle of of thinking about sound as flowing movement which features a slow turning from SIMPLE to COMPLEX and back, with sounds within sounds (some based on A 432, some based on Equal Temperament 12th root of 2 A 440, some Phythagorean and following the natural whole numbers of freely vibrating columns of air....). These all, it seems to me, can happily co-exist and both balance and complement each other.

Perhaps this is true even for our Lark Sparrow, a far better musician than any of us, I think, might agree!

[cliffcrego]

IMAGE: Whitebark pine snag, Eagle Cap Wilderness, OREGON.

The avian soloist featured here is the Lark Sparrow--I call him the “One Man Band” because of marvelously rich complexity of its music--the less visible companion of the Western Meadowlark of the OREGON sagebrush steppe.

The Yakida ground is played by Australian new music trombone virtuoso, Simone de HAAN.

[cliffcrego]

Should be played without conductor, without music. The tempo tree for the whole is based on the ratio of 5 to 4, which in musical SPACE is the equivalent of a major 3rd.

More percussion music at www.cs-music.com/drums

The webscore of the simplified study version LOCK 'EM UP is at: www.cs-music.com/drums/study_1_1.html

AND the pdf is at: www.cs-music.com/drums/study_1.pdf

PARTS of simplified version (without instruments) are at: www.cs-music.com/drums/study_1.pdf