The Method [2010]

for those who forced me into this

"First, we have an idea, or a problem,

then we act, i.e. either speak,

or build, or destroy."

--Paul Feyerabend

Composition is a measure of energy that argues the medical truth.  Against several epic possibilities, this energy is inevitably transformed into hanging medicinal simplicities.  The thing that makes this process different, in and of itself, is the fact that it started as a natural law.  When related nerves advance into blank legal pain, the composition is therefore given to the bed.  It would be a spontaneous and welcomed line that found its way to the breaking head.

True energy can find the nerve dance even when the problems are those which you do not know.  Immediately, their spontaneity achieves a contemporary air, which is obvious when examining the impression that they have left there.  This improvised music does not miss, nor does it sicken in its removal of whatever mess hers and his have to offer.  Reaching a space beyond this conundrum means that time will follow those who will not follow meter.  However, certain particles of this one energy do build upon what seems to be a well-restrained participant, who might be found naked beside the patient's bed.

  In a fashion, one can then track this participant, and one can find certain redundant qualities on which to focus.  Whether it's for the patient or for the composition, this quest should not string together these qualities without bringing others through to couple there.  Later, you could breathe on something, establishing its might, or you could simply take what you've got, and walk away.  When a purpose is required, it relies entirely on the audience joining in, and this can turn any musical matter into a righteous event.  The purpose is upright, and it is a common favorite when two are searching for someone else. 

  In order to live, however, the body must constantly be seeking grounding, and the only way for this not to end in a downward spiral is for the matter to be taken seriously.  A few classic methods are sure to garner definitive results, but the organic path, approached quietly, is the path which takes one on the most important journey.  In order to stage this, one must revive the comatose instruments, and begin to play different tones in conjunction with one another, allowing one being to think in great and harmonious patterns.  This is the modern chord, and it is easy for it to amount to something, especially when it is rendered by people of extraordinary character.  And, in the end, time should be firmly grasped, only to be released when the varying musical projects, in skyward ascension, can be properly put to death.