Monthly Archives: January 2009

Misled

You know your mind is really trying to distract you when it comes up with the idea of transcribing Leonard Cohen’s “Dance Me to the End of Love” for the cello. Leonard’s slightly menacing version, of course; none of these cheerful boppy covers.

    My mind: No, really! It would be *awesome*!

    Me: Not today, it wouldn’t.

    My mind: But but but — it would be cool! It would sound great on the cello!

    Me: Transcribing it would take forever. I have no reason to do it, and it would sound odd as a solo piece. And I’d need at least a bass to back me up. Possibly also a piano. Not that I have anywhere to play it.

    My mind: You know people who play both!

    Me: SHUT UP. I’m working.

ETA @ 4:00: The interview’s as done as it’s going to get today; I’ll proof the first draft tomorrow during the boy’s nap before sending it off. I am going to metaphorically plug my fingers in my ears to ignore the weird Leonard Cohen thing, and cast on the blanket instead. I should keep working on Bodhifox’s hat but the needles and yarn are both smaller/finer and my hands feel clunky today because of the cold. The slippers have a pattern repeat and so would take too much attention. Also, well, shiny new project. So sue me.

Hangs Head And Is Listless

I bought a plastic? resin? metal? circular needle this morning for my next knitting project. The shop did actually have wooden ones in the size and length I needed, but the tips were uber-dull and I knew they’d be more hassle than they were worth. Anyway, so I now have a 29″ size 10 circular needle, which means the missing one with wooden tips that I’ve been searching for since last week should show up any minute now.

I also bought a bronzey-brown (the colour’s called ‘Toast’) and a blue (‘Admiral’, of all things) yarn for the lap blanket that will be my mindless garter-stitch project. I only picked up half of what I’ll need, though, because it’s acrylic (I cry a little, here) and I may end up hating it. I’ve used some of my craft-stash acrylic for practise and it has been awful. But it was acrylic or nothing since the cats have taken to chewing on wool-content yarn, cotton just felt wrong, and soy was ye-gods expensive for the amount I’d need. This is just a silly lap throw that will be on my office chair, not art. Also, as much as I love shopping at the yarn stores, they sell expensive yarn and I don’t have a lot of money right now, so acrylic it is. (Sob. Even though it is very soft acrylic.)

I’m halfway done those interview questions. I started knitting my slippers yesterday, and may well cast on the lap blanket this afternoon when I can no longer stand the interview. I expected the boy to be home with me today but he ended up going off to the caregiver’s after all, so I do have the time to work. Yesterday was not a great day, which is why the interview didn’t get done and was rescheduled to today, pushing Orchestrated off to next week. That’s okay; I felt no desire to work on it anyway. The beginning of the week was fantastic, but I suspect that driving to get the proofs and the freelance project done (and the unexpected mess of the ms. for review that led to many more hours invested in handling it than I expected) burned me out a bit, leaving me listless yesterday. My back hurts, which does not held the sitting-at-the-computer-working thing much.

We had our first orchestra rehearsal of the year last night, where we met our new guest conductor. She is, in fact, a cellist, and I’m really kind of excited about that because it means she’ll actually work with our section instead of pretty much ignoring us, even though I suspect it also means she’ll be extra-picky about our sound. That’s both intimidating and motivating. She asked the celli to play measures 241 and 242 in the first movement of Beethoven’s fourth symphony, then told the rest of the strings to “play it just like that.” It was really, really nice to hear on the first day back after the holiday break, especially because we were sight-reading it. It almost offset the oh-my-gods-you-can’t-be-serious treble clef cello line in the Carillon of the Bizet suite. (Last time we played this was my first year with the orchestra; I seem to remember the principal playing a solo there. This time, I’m going to do my damndest to play it, and I can lean on my teacher for help.)

Back to the interview.

Self-Enabling

Most of you know I’m interested in odd kinds of instruments. When I say odd, I don’t mean out of the ordinary; I mean things you can’t get easily and are stupidly expensive, and even if you could get one you’d have a hell of a time trying to find a local teacher for it. Like a harpsichord. Like a viol (AKA viola de gamba).

Like this seven-course Renaissance lute.

Repeat after me: Autumn has no time. Autumn has no money. Autumn should stop subscribing to Craigslist RSS feeds.

Unrelated Reviews Of Things

I played the 7/8 yesterday for my entire practise time. It was that good. Usually I get frustrated with the lack of response I expect to get and switch back to my own instrument.

It’s… resonant. A bit less clear on the C string, but that can be adjusted. It has really nice tone colour. There’s a good balance across the four strings, nice response, and did I mention it’s resonant? Holy cow. There were times when it sounded uncannily like my cello. In general it sounded much, much more developed than the last one. At least, it sounded that way from behind the instrument. We’ll see what happens when I cart it to my lesson Friday night.

I kept hitting adjacent strings because the bridge/fingerboard combo is less curved than mine. I initially thought I’d want that increased but then realised that most cellists probably wish it was the other way around in order to use the minimum amount of effort/energy possible in switching strings. It’s even easier to play than the last one in a physical way, too; the action is even sweeter. (The action was pretty much the only thing I liked about the last one.) What I find interesting is that they’re both 2007 instruments, so they’re roughly eighteen months old, and yet this one sounds so much more played-in. Just goes to show how wide a variety you can find within the same model and production year.

I’m looking forward to hearing it played by my teacher. You hear completely different things when you’re sitting in front of the instrument being played than what you hear from behind it.

And now that I’m potentially close to finding The One True 7/8, I’m panicky. I don’t really need to change instruments. I love how my instrument sounds, and I like how it handles. (I may just be used to it; a 7/8 might handle even better once I adjust to it.) What if I switch and it’s a bad decision? (I sell the 7/8 privately and don’t take much of a loss on it because 7/8s are hard to find, or even sell it back to the luthier for not much of a loss.)

I took pictures last night because she’s really, really pretty. I spent more time that I ought to have because I couldn’t really capture the colour correctly. But here’s an idea of what she looks like. The first picture is the standard comparison shot of my 4/4 and the trial 7/8 (standard, ha; I haven’t done this since I brought the first one home last July, but it shows you the colour difference and reminds you of the proportion differences as well; it may not look like much in this tiny pic but click and you’ll see there’s about an inch of difference at the base, a half-inch at the top of the body, and a good inch of the scroll). The second is a full shot of how she looks, and the third is a close-up of her ‘dimples.’ I’ve touched up the last one colour-wise to give you a better idea of her true colour:


I’ve just realised something: I’ve started calling the cello ‘her’ instead of ‘it.’ That’s the first time this has happened. Hmm. This could be dangerous. (Or appropriate. Who knows?)

And now to shift topics entirely: I have realised that I have not yet given any kind of review of my stand mixer. That’s mainly because all I’ve used it for so far is to mix and knead bread dough. It does this very, very well indeed. I am positively in love with how easily the dough slides off the dough hook after the kneading is finished. It mixes and kneads very well, yielding a satiny smooth dough that rises and bakes up nicely. I do miss kneading by hand, but being able to watch the dough hook do it is the next best thing. First of all, it isn’t hidden away like dough inside the bread machine is, so I get to watch it and it’s strangely relaxing. The hook really does a nice job gathering it up and constantly rolling it around. It also doesn’t make an unholy banging noise the way the machine does. I’m also fully in control of how long the kneading process goes on for.

I do like the way the head lifts, and how the different beater attachments go on and off; it’s all very simple and well-thought out. All the attachments and the bowl are super easy to clean, thank goodness. So far I’m very impressed. The only drawback I’ve found so far is that the thing weighs a bloody tonne, and because I don’t have space near an outlet in which to store it, I have to lift it and move it when I want to use it. I only need to move it a couple of feet but the height of the counter robs me of most of my lifting power, and there’s that fibro thing too. I may look for a power bar with an extra-long extension cord for the kitchen.

That’s all from here at the moment.

Goodness, How Did That Happen?

So that one-page brief overview of a topic that I was asked to write for inclusion in a private collection of educational material turned into a two-page intro plus a page of sources.

Yeah, I know. But it was all important.

And I found a newly published book on the subject that I need to read, too! When I have money to buy books online again, that is.

Sigh

Just another day here, Gentle Readers. Tired, achy, cold the usual. Only more because the after-effects of the flu are still dogging me.

In the Good News column, I finished and uploaded my freelance assignment yesterday (it was like beating my head against a brick wall; you all know how I feel about plagiarism, and this project quoted pages and pages of another book and blew right past the concept of Fair Use, while merrily paraphrasing other original material without attribution) and I finished my first pass through the galleys of the book this morning. Now I’m doing my second quick pass to make sure the edits I’ve made aren’t stupid (and have caught a couple where I phrased the requested correction badly, thereby demonstrating that my second pass is indeed necessary). Once that’s handed in early this afternoon I’ll have to move on to the next two things on my to-do list. One is an interview for an online community, and the other is a private pro bono one-page thing to write that has repeatedly been dropped down on the list of things to do because it’s non-paying. If I can get all that done today I’m free Wednesday and Thursday to work on my own stuff. Except it’s highly unlikely that finishing both today will happen. I need to do some cello work too, both on mine and the current trial 7/8 (Cello 7, for those of you with scorecards at home).

In the meantime, what I want to be doing is knitting my lap blanket. Except I do not yet have the needles or the yarn for it. Stupid space-time continuum, messing up my plans. Well, the boy and I are home together Friday, so I have proposed a trip to the bookstore for him if he comes yarn-trawling in places like Zellers with me. (Me, the bookstore? It doesn’t have the book I’m looking for. Bah. Although I do need to get a miniature wall calendar for my office wall.)

ETA: Aaaaand… as of 12:14 PM I am done, done, done! The proofs have been sent back and I am going to reward myself with a half-hour of browsing through colour cards for yarn to try narrowing down my yarn and colour choices for the lap blanket. The I think I’ll work simultaneously on the interview and research the one-page history. (In other words, I’m going to have two documents open at the same time and use one to work-avoid the other. This is a technique that actually works sometimes.)

For My Own Entertainment Records: The Series Of 7/8s

Cello 1: Eastman VC-100 (May 2008, La maison du violon Longueuil) [balanced tone? brown-amber varnish, in-shop trial only]
Cello 2: Scarlatti (May 2008, Wilder & Davis) [in-shop trial only; oil varnish with pronounced grain]
Cello 3: Eastman VC-100 (July 2008, La maison du violon Longueuil) [just didn’t grab me, orange-red varnish]
Cellos 4 and 5: Jay Haide (July 2008, The Soundpost) [in-shop trial only]
Cello 6: Eastman VC-100 EA-78-954 (December 2008, La maison du violon Longueuil) [unfocused, bleh tone, stuffy, dull]
Cello 7: Eastman VC-100 EA-78-1460 (January 2009, La maison du violon Longueuil)