B. Cb. B! Cb, damn it! Is not! Is so!

I will never again write ANYTHING in GbM ever again. I mean, I will never again write anything in a key that can be written as easily with sharps as with flats. It’s driving me crazy. I keep thinking there are two B-type chords in the stupid piece, a Bb and a B. This makes me go digitally dyslexic while playing it when I invariably reach for the wrong flavor of F (Gb! No, F#! Wait a minute, F!) and end up with a tritone in the middle of the piece that is the musical equivalent of a hair in a bowl of soup.

This is unimaginably irritating. I mean, I can write anything in pretty much any key signature without much caring. Putting the “Pompe vane” variations in F#m to keep them at their proper sounding pitch was quite simple. (Of course that was only three sharps, so no major eyelid twitching moments in that one.) But this thing just drives me up a wall with those two chords that my faulty brain insists on classifying as a Bb and a B.

And it just keeps going. I get lost in a particular part of the piece where I’m going back and forth between a few chords because I can’t intuitively grasp their relationships in a millisecond. When you bounce between an Ab and a Db, you know you’re sort of going V-I-V-I. But when your brain keeps turning the Db into a C#, the gears in your head grind a bit when your brain doesn’t know WTH is going on with an A-type chord moving into a C-type chord.

It’s not a C-type chord, you faulty box of malfunctioning grey goo. It’s a D-type chord!

As long as I can record a demo of this thing at some point, I’m counting it as a victory. And I still don’t know why the first six-flat piece didn’t screw me up like this. I should write out the chord changes.

This may be the sort of thing where being musically literate actually gets in the way. Paul McCartney doesn’t have this problem I’ll bet. He doesn’t know an F# from an F-you. He just reaches for that black thing, yeah that one there …

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