Octave strings came. :-)

I didn’t get a student-grade violin yet, but I have the necessary strings. I’m trying not to fudge them onto my viola; besides, they’re too short. I admit to being curious, though.

I’ll keep an eye on the Gliga website and see if a $200 student lefty doesn’t show up. (The ones there are listed as out of stock.) In the meantime, it’s viola this weekend more than piano, I think. I’m still in the mood to take a bit of a break from the piano. Eventually, something else will build up in the pipes, and I’ve got several projects I want to get back to. I do want to return to “Son nata a lagrimar,” but I’m also anxious to finish a good collection of piano-only works that I can then practice and work on myself and build up a nice rep of my own material that I can play at any time. I think that as much as I love the viola/violin+piano things, they will have to take a distant second place in terms of priority.

I want to build up a personal rep, and then I want to begin working on the theme+variations on the Haendel aria intros. The string+piano arrangements will need to be relegating to filling in the cracks.

And I still need to get my viola down to the luthier so he can get that damned center-mount chinrest sorted out. It’s still touching the tailpiece, and I can still hear it sometimes. And the left side is still up off the wood and needs some boost from a bit of cork.

Viola happiness again

So I messed around a bit more this weekend, and my attitude toward the viola appears to have improved since getting the elephant out of the pipes. However, I have bought a set of octave strings (the Sensicores) and plan to get a cheap student lefty from Gliga and make my luthier go o_O when I bring them both to him and ask him to reconcile them. Might be a waste of money, but it won’t be a waste of too much, so that’s not so bad. So in the near future, I may have an instrument that is both smaller and lower. :-)

I wish I had more choices about strings; I know that it took me a bit of piffling around to find the combination that works best for Stevie (C/G Obligatos and D/A Corelli Crystals), and I dislike the idea of being locked into one brand on the octavgeige. We’ll see what happens.

Why can’t I just find a small, lightweight, low instrument? Goddamned physics.

Still muddling around with the idea of arranging “La Vie en Rose,” but I don’t know if it’s actually going to happen. (What the hell am I arranging cheesy French torch songs for?) I want to get back to “Son nata a lagrimar,” actually.

I’m also starting slow practice on my own finished piece, and would like to refamiliarize myself with my old stuff again through the same means. Eventually, I’d like to have a rep built up of my own work.

I have no idea what kind of pitch I have.

Absolute, relative, whatever.

I’ve decided it might be fun to work out a version of “La Vie en Rose” for some unfathomable reason. I’ve listened to it on YouTube, but not for a few months. I was wondering what key it was in, so I sat back, thought about what it sounded like the last time I heard it, whistled the thing a bit, and sat down at the piano.

Pick a note. High C. Nope, wrong.

But the minute I heard the C, my finger immediately went for the Ab, without any deliberation. Bam. Ab indeed. And I hadn’t heard that song for a few months up until I wanted to check myself and just listened to it now.

So is that relative pitch, because I had to hit a note before I could accurately (and immediately) place the note I was hearing? Seems like it.

But I could sit back and reproduce the note perfectly from a months-old memory. I would say I don’t have absolute pitch, only because I needed to get a reference pitch first (that high C), after which I was immediately aware that I was whistling an Ab. But I was able to generate the correct note from memory, so it’s not completely relative.

This whole absolute versus relative pitch thing has a lot more shades of grey than people seem to want to imagine.

Left-handed child-size instruments

This does my heart good!

You know they wouldn’t be making these things if there were no demand for them! I am so happy to see this! Despite urban myth, there is no left-handed “advantage” to playing an instrument designed for right-handers (not even pianos, which are probably the least biased of all due to how they are played. And yet, even they are slightly biased against us.)

But with these fractional lefties, there would be absolutely no disadvantage to playing left-handed whatsoever. None. No bias in the slightest. At last, we would be on a completely equal footing. :-) How wonderful to see these!

I can’t shake the feeling that back in the Baroque days when flutes and recorders were made for use on either side, with the unused holes meant to be plugged with wax and ignored, Amati, Stradivari, Guarneri, Testore, and the rest all made their small share of left-handed instruments. They were probably all converted over until nowdays some few of the classical string players in the world, bowing with their right hands either by nature or force, have fiddles with light shadows inside their bellies, attesting to the fact that they originally came with their bass bars mounted on the other side. I’d love to see MRIs of the extant Strads to determine whether this can be ascertained.

The sad thing is that this unhinged and completely baffling attitude toward left-handed play would probably be so strong (most unfounded prejudices are) that the information would probably be suppressed. It’s crazy, but I wouldn’t put it past people. They’re so strange about this.

Feeling better about that 6-flat thing

The more I think about it — and the more I relax after having gotten the elephant out of the way — the happier I am with the end result of this thing. That’s probably just a delayed relaxation from finally not holding that cramped position with my brain any more. My head’s been a fist for a while, and I’m at last starting to relax my grip and get the pins and needles out again.

I also neglected to realize just how much I wrote to result in that bridge. I sat down and worked it out, and then when I put it into Musescore, I was very surprised to learn that it was suddenly four pages long. I go back and look at the sheet music, and it’s telling me that I wrote 50 measures, which constitute what I was thinking of as a mere “bridge.” Measures 40 to 90 are what I had to put down to link back up to the piece I had originally worked up, which was 32 measures long. My god. I forget sometimes how long music is; what seems like just a simple workup can take up an awful lot of paper. (And then there’s the prologue for this thing, that odd little dissonant thing in 6 flats and 4/4 that started this whole mess — which is a half a page and feels like much more.)

Anyhow. I’m finally starting to get some sun back into me after getting this thing out of the way. I hope I remember how this feels the next time another elephant builds up in the pipes and I have to squat over the damned thing again.

And I started recalling a short, pretty, absolutely schmaltzy thing I started working on over the winter holidays when I was unable to fly home. It’s 100% schmaltz, and I’m not entirely enthusiastic about it since it’s not filling a gap that I’ve determined needs filling, but who knows. If it’s there, might as well write it.

Who gives a crap about marshmallows?

This is the problem I always have with things like this.

What if marshmallows don’t really excite you?

Put a marshmallow in front of me, and I could wait until doomsday. But, put a CD of Riccardo Muti playing some Brahms, or a book about orthographies throughout history, and tell me to wait, and I’ll be on that thing like a frat boy face-down on a secondhand futon before your back is turned.

For whatever reason, my instantiations of what could be called instinctive animal drives are very weak. I love good-tasting food, but … I still have to remember to eat most times. I had no idea that what I tended to do with food even had a name: intermittent fasting. I just don’t bother to eat if I’m not hungry, and I have to get pretty hungry to notice. My stomach whispers, and I don’t tend to pay it much mind at any rate. I’m highly likely to not bother eating until around 4pm, upon which point I notice that my stomach feels a bit acidy, and the last thing I want to do is put food into it at that point. Then, I remember that I haven’t eaten all day, make myself nibble some pita bread, and when I start to feel better, I’ll consciously decide to have a proper meal. And I want to get it over with as quickly as possible so I can get back to whatever else it was I was doing.

I suppose I regard eating as an occasionally pleasant but irritating interruption of more fun things I could be doing. Sort of like trimming one’s nails or using the toilet — it’s just part of the basic maintenance of having a body, so you do it quickly and when you need to, to get it out of the way, so you can get back to Chapter 5 or measure 34, or whatever.

I mean, it’s not resistance if there’s no perceived force against which one is resisting. It’s not a matter of “Don’t eat the marshmallow!” so much as “Who cares about the marshmallow?” When your head churns out way more interesting things than a damned marshmallow, the opportunity to sit and think quietly to oneself is like going to Disneyland anyway. Nothing below the neck is as fun to satiate as the stuff above the neck is. And yes, I do mean that, too.

I also think the study misunderstands the reaction of poor kids to the marshmallow; I just know some bell-curve moron is going to say that a poor person’s inability to suppress their urges is why they’re poor. Neither they nor the researcher seems to entertain the idea that, if you’re poor, you pretty much do have to eat that marshmallow right when it presents itself, because poverty means that you don’t run into nice things very often. When you do, you must take advantage of them then and there. Eat that marshmallow when you see it, or else chances are the social worker will come back into the room and tell you that due to the fact that you didn’t cross a “t” when you filled out your aid form, she has since learned that you aren’t getting any marshmallows and will instead be getting a kick in the ass. So if you’re poor, you learn right quick to grab that marshmallow the second it presents itself and run.

But studies like this never follow up on The Poor™ when they take them, unlike the middle-class kids who were followed into adulthood and asked questions about their experiences with the assumption that they could actually answer them. The Poor™ are merely The Poor™, and questioning them or trying to determine motivation would probably strike people a bit like asking a macaque why it’s trying to open the box with bananas in it. (Perhaps the poor kids who took the study, if followed into adulthood, would already have learned that when white-collar people ask them questions, they don’t really care about the answers, and they would simply shrug and say, “Don’t know.” A lifetime of being assumed to be stupid, lazy, and useless does tend to make you reply with dull monosyllables when authority figures ask you things. Be too interesting in your replies, and you just might find something else taken from you.)

I have no idea what the hell this has to do with music.

Bought myself an ipod nano

I’m not entirely sure, but it may have about as much storage as my old touch does, and it’s no bigger than a shoe clip. I only generally use that thing as a sort of mini-laptop to check e-mail if there is a wireless network around much more than as a music player, and my old black rectangular ipod that I love so much syncs to a computer that may or may not even work anymore. Hence the new, tiny one. I plan to fill it up fairly shortly with my old stuff and all of my Happy New Stuff that isn’t on the old ipod as well (Keating, RBP, Schmidt, the Brahms and Beethoven discs with Muti and the Phila, various other stuff, those oddball discs by Uli Jon Roth and Yngwie Malmsteen, and probably my own stuff as well).