Published: Aug. 17, 2007 at 7:25 AM
I was on like page three or four of Albinoni and encountered the low range runs. I melted. I'm still melting. This is humiliating. ;).
I dug in to the runs; and grabbed some slow loud at the bridge, and they are in my entire upper half of my body as I write.
Realizing as I sketched that even the arpeggios are going to be awesome, my brain screeched cuss words. I can't take it!. But I will.
I feel like I'm in a dream as all these things begin coming together: a wonderful, intense, even surreal something. God knows I've worked my 'quite pretty' arse off ;).
I immediately stepped out of the box and up to bat in choosing to do it in upper octaves as well, lower contrasting octaves, and more. This, will be one of my two so far legatomeister signatures for a long long time I'm sure.
My first legatomeister expression was a string of Ave's, which will always be a part of my personal repertoire. Then it was actually my first love, "Air on G", that took me to some 'real' competency. Mary Beth should have listened to me.
God will be jealous.
Come to think of it, I actually now have three legatomeister candidates, McGlothin's "Arms of the Angels" considered. I'm gonna rock that baby. Nonetheless, I'm finding Albinoni a perfect musical expression for violin.
When I make a song my own, it's a cool thing. And at some better percent of luck, I choose well for some reason. When I was grabbing my first lower range notes earlier, I knew that though it would sound cocky, that something very very spayshul was happening.
The 'D' string animated with that first 'G' in a way that made me grin broadly--and I did. And in making the choice for bow speed near(er) the fingerboard for the opening notes, I could hear the ensemble becoming the solo--I grinned again.
I do not even have the words for that experience of bridging the gap between ability, technique and abstraction. Oh'm'gosh.
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