As an atonal tonality, a musical serialism in the philosophical text can teach us to interrupt our own always "already-knowing." In this interruption, we
literally take a step back, turn to another beginning, and in this way, but only
as a sheer and fading possibly, we may yet come to hear Heidegger's resonant
word, as the melos of the appropriative event. "Saying" for Heidegger "is the
mode in which Appropriation speaks". Saying speaks in every word, in silence, and most particularly as the event of Appropriation, as what catches us up, as Ereignis, in the melos of the song that in "saying speaks." Expressing the way in which we might be so appropriated as the melos of Ereignis, "the melodic mode, the song which says something in the singing" is the frame of song, arraigned as what lets be, what "lauds," all present beings, allowing "them into their own, their nature". These are the words of song: "das Lied das singend sagt," sung between mortal experience and mortal converse when Holderlin promises in his poem Friedensfeier: " ... but soon we shall be song." " ... bald sind wir aber Gesang."