Archives for posts with tag: rhythm

Star of Sirius, lapping Star of Sirius

Yesterday my poem “And a” was inspired by a CD of The Best of Boogie Woogie. Quite coincidentally, on June 3rd last year I posted a poem I’d written many years ago in response to a piece at a jazz concert.

Music has long been a source of great enrichment in my life. Playing in amateur and student orchestras during my younger youth, I spent wonderful times in the company of musicians. I still play my viola, though my endless attempts at Kreutzer, Mazas and Bach are at present only for myself and my neighbours. I listen to BBC Radio 3 obsessively and have discovered spotify playlists. For writing and typing, I often return to a rotation of predictable material: Miles Davis “Kind of Blue”, Depeche Mode, Crystal Method, Fever Ray, Gotan Project, Putmayo’s French or Italian Café. Bachata playlists are a current addition. It helps that many of these tracks are strong on rhythm and known so well to my ear, that they don’t distract me from the task at hand. Sometimes I try to sing along, but my lyrics tend to be surprisingly inventive. This is a poetic license of sorts, I suppose.

Thanks to the immense generosity of friends and happenstance, I have enjoyed some of London’s finest musical offerings: LSO and LPO concerts, ROH and ENO opera productions, Cadogan Hall and Wigmore Hall chamber recitals, opera at Holland Park, renowned string quartets (Kronos Quartet with Laurie Anderson, the Borodin Quartet playing Stravinksy) and free recitals of many kinds – a Polish jazz trio at the Yamaha showroom, Guildhall student recitals, a cellist streamed playing in a boat suspended above the Southbank Centre. At such performances, I’ll often pull out my notebook. I did so recently during a performance of Verdi’s Requiem at the Royal Albert Hall, simply to note the sensations that the music evoked. These included “a bold shadow on the pavement” and “Christmas pudding alight, then served with custard”.

In Night-Star of Sirius (of 2008), my poetic associations were more pointedly directed by the piece’s original title. I have since become more relaxed about allowing associate creative disciplines (art and other literature, as well as music) to trigger a seemingly unconnected creative response. After all, a poem may form yet from the moment towards the end of Verdi’s Requiem that is as “a napkin laid down after a satisfying meal”.

Wikimedia Commons image under an Attribution Share Alike 3.0 license. Author Jeff Dahl.

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256px-Piano_Keys

Piano Keys‘ by Truls (Own work) [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC-BY-3.0 (http://creativecommons.org/licenses/by/3.0)%5D, via Wikimedia Commons

One two three four
One two three. And a 
oneity two three four
one two three _ [fine]

Oneity oneity oneity oneity
oneity two three four-a
yeah ah peep for
Parp twoity three _

Oneity two me four
this song’s three four-a
want to join me? 
Catch twoity three _ [Da capo]


The beginning/end-of-the month weekend when people move from their rented accommodation proves a fruitful time for random pavement bounty. Yesterday’s gift was a plastic bag of abandoned CDs. It was Monteverdi’s Vespers of the Blessed Virgin that first caught my eye, but home with me also came Jagged Little Pill, Alanis Morrisette’s soundtrack to my mid-adolescence, and the wild card, twenty tracks of The Best of Boogie Woogie.

This afternoon I’ve been listening to the Boogie Woogie CD.

In today’s Guardian, television presenter and Forward prize for poetry judge Jeremy Paxman writes that contemporary poets write for each other, rendering poetry irrelevant to ordinary readers. This may indeed be true. I write most often for myself and an imagined ideal reader, rather than The Public at Large.

Together with the Boogie Woogie his comments inspired some self-indulgent pseudo-improv.

So here-above, and a-oneity two three _, is a song just for me. Readers, join in if you wish. Performance directions are included. (Da capo means ‘return to the beginning (lit. head)’ and fine indicates the end of the piece. I.e. to perform you must follow verses one to three, then repeat verse one.)

If this arrangement doesn’t please you, take some wisdom from ‘Pine Top’ Smith. In Pine Top’s Boogie Woogie he calls the crowd to,

“Mess around!”

And a
oneity twoity three four. Forget those poets.
Make your own poetry! Mess around.

Twitter: @BeadedQuill 
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All BeadedQuill’s books are available for preview and purchase. Click on the links below:
In the Ocean: a year of poetry
Emily’s Poems for Modern Boys
Shining in Brightness: Selected Poems, 1999 – 2012

An old list of nice words that became a poem.
There’ll be a fresh list tomorrow. Do return to read it.
Yours, BQ