Don’t think I’m really done on this one

The D mixo thing. I might be feeling more ambivalent than I otherwise would had I not gotten to the point where I couldn’t even use the coda I had worked out, and that motivated the creation of the whole damn thing in the first place.

I didn’t even realize until I got to the end that the coda was in 3/8. And that the D mixo thing that was inspired by it is 6/8.

I couldn’t use it. No matter what, no matter how hard I tried, it kept clashing with where I had put the downbeat. So this whole thing ended up as an annoying exercise in how to eff up the time signature without even realizing you were doing it. Christ, the only reason I wrote that coda was because I had flubbed something in 12/8 (“Con rauco mormorio”). 12/8 to 6/8 is doable, but 6/8 to 3/8 just doesn’t leave enough room to keep the downbeat from coming in the middle of a measure. And it didn’t hit me until Saturday night or thereabouts when I woke up for no reason at around 2am. There I was, lying in bed blank-brained and listening to my cat snore, wondering how many tennis balls make a pound, that sort of idle mental pocket lint that the brain cranks out at times like that … hey, that coda is 3/8. What I had thought was a short coda was actually a full 8-measure theme. Crap.

So much for that. Now that I didn’t have the consummation that I anticipated in the stupid thing, I’m not sure if it’s done. Either I just tacked something on to the end because I was irritated and wanted to finish, or I actually have worked out something nice that flows well but can’t tell because I’m still calibrating it relative to a stopping point that I’ve discovered isn’t actually relevant.

I recorded an only mildly fumble-fingered version last night and will let it sit for about a week before listening to it again to see how it settles in the ear. I suspect that I need another section, but I’m not sure.

Meanwhile, it’s either on to “Bitter Clean,” I drag out the Fm and see if any rough edges remain to be knocked off, or else I just woodshed away on Joplin again until the weekend. I suppose I could get back to work on “Son nata a lagrimar,” but to be honest, if I’m going to be impacting my brain with the hammer of a six-flat key with a six-sharp relative major, it’s going to be something I wrote, damn it.