Beirut ( -) .,as the mist hangs us, gently.{10.

.30-14} Inforxz before as once, here, the sound must be shaped, in soft echnagez, the sounds themselves can flourish and extend it on through many ranges (hues and saturations of emotive conduct and association between a placement and the shared environment, as it is navigated through via the subtexual communications) and potential vertrality. instrumentation open thoughts on possible... use of organ, or piano, or both are encouraged, strings, and woodwind. vocal. all of these should focus around the text. improved, should sit with strings, keys and feedback, vocal experimentation to allow for accent. the textures of the noises, should come from between, and extend out, into the sroundingz. based, on a grade, and are still held together, contact of occurrence from the likes of fragrance, and presences pressure. clouded though exchange from the tonics, and not direct contact. held, at. the slight. contact; the symbol sytems is broken into potential variances of the modification of melody overlapz, thus, the textual space, is more of a visual hue, like misty. the forms, converge on pitch, amplitude and space. as for the write score itself. it is more a metering of the kind of possibilities of the different spaces of voice which occurs around the exchange itself between the agents. and their forms presences and subtext contactz. notes on textual movements may be repeated, re-structed. in as <<blockz>> mesureblockz primaryz; [19-23]- is the holding block, of shared and condtempting through the layers and between, the spaces. [24-end]- let breeze hang, and twist; all blendz [9-13] held breath-light haze to saw, places together aspect; [1-5] intro [5-7] transit [14-18] sporadic, and tightly winding torrent between.

Beirut ( -) .,burns <<5-8:37>> infroznotez: this movement is based on isolation, a kind of controlled, exposure of frustration and unrecollection. the placing away, between a stasis, and in the wake of the collapse of communication, the rise of fire, the division of people, and of war. to produce this, the goal will be to have two, recordings, two tracks taken down, using the equipment setup, as well as any personal identify add in which either party which to add. thus, other then the notes, and any kind of emotions before, as well as the preset environment and primary equipment, the other, should have NO, exposure to the other. in hearing them, or seeing them enter or leave in both there physical emotional and other objects, etc that they brought to the manifestation pre-setz and Mise-en-scne environment: room. preferably large, and dark. -only light from the equipment, or whatever, else is added to the environment by the agent however, anything added must be removed, and not exposed to the other. primary equipment: -amp large -mixer/ - unlimited patchcables. -mic. -one other electric instrument, (guitar, bass, keys) - one, recording device, (tape, digital, etc. [iz setup can include anything]) mood, script and emotional content: lyriccal content: sung, at top volume, of voice may be sung/shouted/screamed, definable , syllables should be dragged, ascents on be(aaa)i-ruut- burrrnzzzz. thus burngs should be held longer. Beirut burnsss-- other important lyrics, are, shouting, and rants, in arabican style, phoenticz, quick or loudly, ranty and forced. alskiz, tlkasz, almiakz, huirkahs Beirut burnsz. alckaz, halkishava, sejkan muahsnhjvmna teiaza; soubvulakz, almua ..

these things including the line, main melody line of Beirut burns should be repeated and interwoven, as the individual sees fit, making it there own, and crafting, order or disorder as they go along.

style: take the cords which repet, in fills high bends. low, drops. need to keep the melody, of barut in hash jabs with elector despolation form mixer overdrive. other; aspects and continuations Graphic potential, referents: -------------------- ___ /---------_|x_-----=--___----__ ----x_____----| #^ [---------.-=-----______-------.| ------__--|.__--x-----------___--------| b)-[ -------- = ----x---- taz\ -------x___-.\------. __ .| -------x------------| baalz. _---------dauz ----------azx----- --------.---x---------x---__----x---- --| daa,,. --------|.---------------------------.|---------------------------------------------x|x

post recording and production: the two track after they are record in isolation are to be brought together, either, by playing both on the same, device at the same time (one right channel one left,) or form two sources. volume should be about equally and so should playback quality. these should be played in a privet room, candles, and both partys siting. once, the recordings play though (also both must be equal length thus, the shorter of the two will define the length heard [can clip from beginning or end of the longer one or bit from each but no other place]) once play back is done. both can be edited as both partys see fit under agreement to master and mix, and create the final work.

Beirut ( -) .,as the ground layz us tuching. 12.50