, ▁I ▁found ▁that ▁his ▁singing ▁was ▁in ▁t une ▁with ▁my ▁piano , ▁and ▁I ▁impro vised ▁a ▁simple ▁accompan iment . ▁I ▁noticed , ▁too , ▁that ▁the ▁first ▁section ▁of ▁the ▁song ▁– ▁ 1 3 ▁bars ▁in ▁length ▁– ▁formed ▁an ▁effective ▁loop ▁which ▁repeated ▁in ▁a ▁slightly ▁un predict able ▁way ▁[ in ▁the ▁notes ▁for ▁the ▁ 1 9 9 3 ▁recording ▁on ▁Point , ▁Bry ars ▁wrote ▁that ▁while ▁the ▁singer ' s ▁pitch ▁was ▁quite ▁accurate , ▁his ▁sense ▁of ▁tempo ▁was ▁irregular ]. ▁I ▁took ▁the ▁t ape ▁loop ▁to ▁Le ic ester , ▁where ▁I ▁was ▁working ▁in ▁the ▁Fine ▁Art ▁Department , ▁and ▁copied ▁the ▁loop ▁onto ▁a ▁continuous ▁re el ▁of ▁t ape , ▁thinking ▁about ▁perhaps ▁adding ▁an ▁orch estr ated ▁accompan iment ▁to ▁this . ▁The ▁door ▁of ▁the ▁recording ▁room ▁opened ▁on ▁to ▁one ▁of ▁the ▁large ▁painting ▁stud ios ▁and ▁I ▁left ▁the ▁t ape ▁copying , ▁with ▁the ▁door ▁open , ▁while ▁I ▁went ▁to ▁have ▁a ▁cup ▁of ▁coffee . ▁When ▁I ▁came ▁back ▁I ▁found ▁the ▁normally ▁l ively ▁room ▁un n atur ally ▁sub du ed . ▁People ▁were ▁moving ▁about ▁much ▁more ▁slowly ▁than ▁usual ▁and ▁a ▁few ▁were ▁sitting ▁alone , ▁quietly ▁we eping . ▁ ▁I ▁was ▁puzz led ▁until ▁I ▁real ised ▁that ▁the ▁t ape ▁was ▁still ▁playing ▁and ▁that ▁they ▁had ▁been ▁overcome ▁by ▁the ▁old ▁man ' s ▁singing . ▁This ▁convinced ▁me ▁of ▁the ▁emot