TSM 163

Trio for Cello

(Musician Conspicuously Absent)

The Bow

I am high-strung of horsehair,
racehorse-quivering, all nerves in the gate, 
this quarter-horse no quarter nor quarter note
but eighth, sixteenth, thirty-second, 
galloping sixty-fourths furlong over furlong
into a split finish –
curry me with favor or I will buck and whinny 
across your course of notes


The Strings

Yes, yes, I hear you say catgut is passé,
yet you want purr and yowl,
and when plucked hear a lion provoked –
then lay your finger lightly on my neck,
grimalkin vibrato or black cat magic
might be yours, become a familiar –
would you trade your soul
for this taut beauty? 


The Cello

My ribs were bent in heat
on hard forms, my chest carved
spruce as if the jackknife of lovers
on my bark were not enough, love's idea
chiseled by steel deeper and rounder until
you say this shape will carry song, 
this will make a moan for two
lying under the branches

The Sunday Muse

28 thoughts on “TSM 163

  1. I love how each one is a different part of the process of what makes it sing. You have your own true style Qbit and it speaks here beautifully! The last one is my personal favorite but they all compliment and work together like all the instruments in a symphony or barn hall band. Love it!!

    Liked by 1 person

  2. It seems as if you speak from personal experience, qbit, as if you have known one intimately. I appreciated the introduction!

    Liked by 1 person

  3. kaykuala

    Love the rounding off of different scenarios to the cello. It’s pretty obvious your experiences covered varied backgrounds. Thanks for sharing Qbit!

    Hank

    Liked by 1 person

  4. I enjoyed how it is the instrument and not the musician who is centre stage here. Your cello is quite a character. Wonderful.

    Liked by 1 person

  5. All three are beautiful…this line gave me such a deep sigh “My ribs were bent in heat
    on hard forms, my chest carved spruce as if the jackknife of lovers” Wow!

    Liked by 1 person

    1. That is a great question! I *think* (but don’t know) the musician returns in the last stanza, e.g., one of the lovers, and the last line one of the “two.” Not because I intended that, but something I noticed later. And all probably I just didn’t have enough good ideas for a “quartet”, with the musician being a fourth voice. That would have been cool.

      Liked by 1 person

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