Just trying to get back to the beginning of this new six-flat thing, and I’m fairly sure it’s six flats now as opposed to five. Moving from V-IV-I makes more sense than moving from I-something that’s not actually in the key signature-IV. So yes, I’m in six flats again. You know, for someone who whines all the time about how much of a pain in the ass it is to move from Ebm to
F#M GbM damn it! I seem to do it an awful lot. I just like the sound of Ebm. I have no clue why. It’s exactly equivalent to every other damned key signature on an ET piano or any instrument with a flexible tuning. The only time you have particular key signatures sounding different from one another is when you have a fixed-tuning instrument that is not in ET.
I’m trying to figure out how I got to where I got in this piece. There are some motifs that seem to have persisted and one other that evaporated on me, and I don’t know how that happened. I’d like to go back and refer to that at some point, but I need to find a nice way to bring it back.
I’d also still like to write more than one note at some point with two flags on it. This is part of why I like the viola, as much as I swear at it. Improv on it is so, so much easier. One note at a time, and I can just let the ear fill in the chords without having to stop and figure them out consciously. And as a result of this, and the thing’s vocal quality, I seem to be able to write flexible, pleasant melodies with actual sixteenth notes in them instead of more etudey things that are more rhythmic and pianistic. This is a big part of why I’m pretty much resigned to getting some kind of lighter, smaller viola.
So that’s where that is for the moment.