The Choir Audition

Why does she know
laying our music down
raises musicality
reality up?

Does she also know
why my lips prefer to sing
in resonant Oh,
oozing round O’s
and singular Ah’s
free of mapping static lyrics

Lines sung
rung right or wrong,
good marching when uniform,
bad when too shy
of improvising bold
multiculturing unity

Harmony musing
amusing spontaneous drifts
and rifts
of EarthTribe’s light
bright woke-up
out loud power focus

Searching out deep whole-sum liturgies
of octaved musicality
we share
when fine-tuned to listen
for our not-so-silent breaths,
anticipating life’s next cooperatively felt
and politically co-empowering

Songs of sacred circling lines
and whole systemic spaces
clever linearly written,
yet never speaking totally predicted sounds
resonant transcendent
anticipating in-between joy
and silent

I wonder if she feels
as I sometimes can do
that muses nurture music
as abusers remain
capitalistically competitive,

Lacking indigenous co-empathic wisdom,
Yang universal
Yintegral unitarian
musical integrity

Of Earth’s sound tribes flowing
songs and rhythms patterning
natural narratives,
curiously intimate Earth Day

Dancing spirited
taoistic breaths
bicamerally cooperative
contemplating solidarity
sung clarity

Under a zillion twinkling
zen core inkling
starlit choral nights.


Why Systems Comfort

What do healthy systems,
naturally spirited,
ecologically enlightened
and ego-politically empowered swell

anthro-economic networks
often wander around
what do wealthy mindbody systems do
when the Body squarely says
“I’m doing all I can comfortably do”

And the unsatisfied Mind asks
“Why is my need for healthy integrity
at least half
my less than thriving
in your embodied space

In musical pace
and game place
and systems empirical
lyrical theory embrace,

This BodyMind feels a dissonant gap
between a comfortably expected
repetitively resonant accord
in music narrative compositions
as traditionally played
and replayed pitch perfect
military march uniformity
with RightBody empowered control

Over-riding a deeply serene
enlightened LeftMind unity
preference becoming contenting content
of EarthTribe’s sacred stereophonic
story, systemic

Waiting curiously,
and thereby less impatiently
win/lose pushing individual performance,
self-prophetically solo lonely

Waiting for our next cooperative
muse amusing immersion
peak climatic experience

Win/Win improvisational
in sacred
therapeutic scores
and scales
of resonant empowering harmony
enlightening multi-lateral symphony
in keys of bicameral rhapsody,
health/wealth systemic


Music Therapy

My LeftBrain is busy reading a book
on what Systems Theory
and thinking
and experience find encouraging
for WinWin social change,
where no losers are allowed to fail
at thriving away from WinLose capital stuckness
in everyday mundane egocentrism,

at the same time
my RightBrain is trying to imagine how to share
scat jazz vocal experiments
so other sanctuary choir members
can have the same celebratory
and non-violent communication through music appreciation
that is in my practice
and procedure skill-set,
more intuitive,
and less LeftBrain deductive.

I get to the bottom of my first paragraph today
and realize something has gone quite wrong
or right
and probably not not seductively wrong
so perhaps intuitively and inclusively correct,
true to nurtured experience,

I reread
and realize I’m not only writing in bracketed commentary
but also substituting a music paradigm
for a therapeutic systems change paradigm.

“The [vocal jazz] group
also identified several [harmonic] strategies
as shown in [chord and rhythmic flow notations]
on the importance of [diverse] community engagement.”

“[Jazz note and timing choices] capture the value
of asset mapping to identifying
and bridging [musical] opportunity gaps.”

“[Scat jazz] affirms the [political democratic empowerment] importance
of [not just LeftBrain] planning
for the built [notation] environment.”

“[Cleft, rhythm and key] Factors in the upper left corner
of the [two-voice] diagram
that impact the target [listener’s auditory] constraints
are [trebleYang and bassYin] shown.”

“Finally, in its [scaled octave] line[s]
at the bottom [through top] of the [musical] diagram,
the [jazz ensemble] acknowledge
the importance of [vocally] shifting [Left and Right, treble and bass]
mental models
throughout the [improvisation] process.”

Seems like a long-winded LeftBrain way of saying
Go with your flow of harmonic/dissonant options
to achieve our highest and best healthy enriching choices
as both performers
and interactive listeners,

But, some people don’t get RightBrain lost in the details
like I do,
so maybe some musicians,
wanting to make more resonant systemic change choices,
would find it helpful
for group jazz karaoke night
improvising green sanctuary social change
through harmonic solidarity.