Soreness

Ah man... played the tenor part at my first church service with Davie, and I am absolutely sore. The soreness isn't from having to lug Davie and the bass clarinet stand that doubles up as my bass flute stand from home to church with a busted up left forearm while still carrying my usual gig backpack of Aurelia and Stella, as well as my own music stand.

The soreness is from the unfamiliarity of reading the bass clef for the tenor part and translating it to playing on Davie.

Let's face it. As a whole flutes are an entitled bunch the way saxophonists are---no matter how high or how low an instrument we are playing, we expect it to be transposed so that we can play it a la ``instrument key''. This means that notes that would really be in the bass clef when considered in concert pitch will be rewritten into the treble clef just so that it can be read and performed. This is true even in consort playing.

This is unlike the poor recorder player (and the !@#$% nonsense picked up by those who wanted write dizi music in staff notation) who is doomed to stare at the parts in concert pitch, and figure out how to play. This isn't too bad for the gang of `C'-recorders (Garklein, Soprano, Tenor, Great Bass, and Sub-great Bass), but is absolutely horrid for the `F'-recorders (Sopranino, Alto, Bass, Contrabass, and Sub-contrabass).

For the hymns, I could transcribe it off hand in LilyPond, but apart from the the obvious effort, I just think that I should develop the ability to transpose from any commonly seen clef right there in my head.

And thus came today's little experiment. I don't know why, but I picked a day where two thirds of the hymns had four to five flats in their key signature (A♭=major, and D♭-major), with only on that has a single sharp (G-major). That probably added to the soreness.

Well, that's that.

I don't really have much else I want to talk about for now, so till the next update.