I may have settled out without the shoulder rest for good.

I’m not sure. But if I hold the fiddle fairly far forward (that’s a lot of words starting with “f” in a row), it starts to rest on both of my collarbones instead of just the rightmost one, and it settles in much more comfortably, without feeling as if it’s been jammed under my jaw. And I don’t go cross-eyed trying to look down the fingerboard. My scroll arm is lower and more comfortable, and doesn’t get tired as quickly, and my scroll hand naturally faces the way it should for good intonation. We’ll see how that works for shifting. 😛

I need to start recording myself as well. The world is full of string players who think their intonation is peachy until they hear themselves recorded, upon which point they run under the cabinets and won’t come out.

I’m also continuing to put things down on the D mixo thing; I think I’ve gotten a bit of a pattern that I’d like to break in the next piece though, where I noodle around and in the third of four “sections” I start darkening and concentrating on the left hand. (Although I didn’t do that in the Fm thing. The third “section” was where it sort of turned into a rag for a bit.)

What I’d like to do is try going with my natural strong inclinations in the next piece — my right hand is extremely nimble after years of lessons, but my left hand is still infinitely more powerful and often swamps it if I’m playing something with a lot of power in the left hand. I’d like to mull a piece of music that features the lion’s share of the interest in the left hand in ff large chords, while runs of purely decorative and melodically unimportant things are going on in the right hand. Maybe I might do this in the D mixo on the reprise of the third “section” …

I’m wondering how serious composers manage to do things that are in the same structure all the time without being boring. I wonder whether or not the sonata structure, for example, doesn’t start to bore a composer after about the third one. Jeez, second movement largo again? There’s a lot to be said for plowing ALL of a field, though. The more passes you make over it, the more you find. I just want to make sure that I don’t wind up writing the same stupid piece of music sixteen times.

Although to be fair, I’ll be thrilled if I write sixteen pieces of music, no matter what they sound like.