Head tilts to strings
beyond setting –
cross-notes of talk,
gallery folk

don’t block his ear
from its pleasure,
its pulling sound
into the round.

But it’s finer
in F minor?
When the baroque
improv invokes

an arched eyebrow
as you follow
hand-key-notes-ear,
the busy choir?

Legomenon
sounds out of tune
but in syntax
attunes hapax.

Such temperaments!
Circle of Fifths.
Helix of Fifths.
Spiral of Fifths.

Pythagoras
conscious of bliss

sharply detects
the imperfect:

but the comma –
here on offer – ‘,’ –
is harmony
not euphony,

cacophony,
or just any
note of grammar –
sounds make measure

as semantics
defines critics,
tuning keys for
pins so eager!

All things being
equal, we cling
to pitch our fate:
front 8 back 8

choir unity,
the purity
of his intent
with instrument

of our belief:
the ear’s relief –
bridges to cross
over rich notes.

CONTENTS: DECEMBER 2011–JANUARY 2012