Eliana's First Proper Gig

That was... confusing.

So, despite having Eliana since 2021, I have never really taken her out on an ``official'' gig---I play on her a lot in between as part of the long-standing principle of ``cross-training'' that sifu has taught me nearly two decades ago. But for a proper gig, that has never happened.

The reason is much simpler: alto flutes need their score to be transposed a perfect fourth lower from concert pitch. The reason for this is practical---unlike the crazy recorder players (with all due respect of course), flute players tend to like playing using their ``instrument'' keys, mostly because the music for the flute tends to be very technical, and thus writing in the same ``fingering pattern'' (i.e. the instrument keys) makes it much easier for the regular concert flute (or C-flute) player to adapt accordingly.

But most music isn't transposed, so it becomes hard to just grab an alto flute out to play to scores originally written for concert flute. There's also the issue of ambitus, but that is usually more obvious---the highly technical stuff will span the full three octaves and thus cannot be easily transposed for playing, while most ``singable'' things stay within two octaves.

Which brings us to today.

Aurelia and Stella have traded places with Davie, and are now at MusicGearWindWorks undergoing their annual servicing (clean, oil, & adjust). I could bring out Azumi, and I was trying her out again last night as part of preparation for serving at the music ministry. But I sounded poor on her---and there was something clacky about her keys that made me draw pause. I dropped in some heavy key oil (probably too high a viscosity), and it helped a bit, but that was when I had a thought.

Why not bring out Eliana?

The pieces were in D-key, B♭-key, A♭-key, and C-key. The tempi weren't too drastic (they were hymns, and therefore needed to match up to what your regular church-goer can sing), and were therefore the best pieces to pick up transposing on-the-fly on Eliana.

It all worked fine, except when times I was confused with concert high-C, concert high-D♭ and concert high-E♭.

Oh, and a surprise hymn requested by senior pastor that was in G-key.

The trick, it seems, is to forget all the rubbish theory that people tell you ``oh, it's like reading the bass clef's top space onwards'' and just play the damn thing, remembering that the default scale runs with F♯ that needs to be taken care of. It's about reassociating where in the [treble clef] scale the fingering patterns are located, and just going without thinking too hard.

With enough repetition, it becomes easier. I dare not say that it becomes ``second nature'' until I can hot-swap between C-flutes and alto flute within the same gig without going nuts.

And that's all I wanted to talk about to day. Am still recovering from whatever the hell I had caught on Friday.

Till the next update.

Maintenance...?

And so, this weekend is about to end.

It's the weekend of maintenance. Aurelia, Stella, and Picc are off to Windworks for COA; my bicycle went to B-Spokes for maintenance, and one of my longest run geocache needed some maintenance [from me] as well.

In theory, things would have been peachy by Saturday, but there was something innately wrong with the rear-shifter for my bicycle that necessitated my bringing it back today for rectification, which resulted in me having to skip out on church today.

``But MT, why must it be today? Couldn't it wait?''

No, not really. It was just after a major maintenance---had I waited for longer, it would have been a bigger mess than it really is now.

Sadly though, a new line of dead pixels have started showing up on Eirian-V. Why and how that happened, I have no idea. But as at now, it isn't completely annoying just yet, so I might just live with it; sort of like my Brother laser printer showing random low-toner density (I think the drum is kaput, but haven't had enough wherewithal to pull up the money to buy a replacement to test the hypothesis).

I also took the chance to use my air-blower to clear out the dust on Eileen-III, as well as my work laptop, something that I had been neglecting to do for about five months now.

Then of course, there is some self-maintenance. I finally chopped my hair down to the right length [of stupid short] with the hair clippers, and am relying on occlusive treatment to force the weepy and inflamed skin on my fingers and palms to calm down. I also replaced my toothbrush, which was at least two months overdue.

Mentally though... I think I might not have done well there. Feeling a little overwhelmed with the barrage of new ``fun'' that came in from the work side. It's not bad, it's just... a lot to take in at once. Not to mention the whole set of loss of spoons from being involved in two large gatherings of people.

I probably should just turn in earlier tonight, after re-packing my backpack to set it up for work, as opposed to errand-running mode.

Sorry this is a short entry---till the next time.

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.

Quick Summary

So, a quick summary of what I had written in 2023:

1. 1 poem posted here
2. 52 essays/rants posted here
3. 0 prose/stories posted here
4. 1 NaNoWriMo winning entry available here
5. 1 pieces of compositions/rearrangements posted here
   

And thus the grand total here is 55 articles, down from the 77 articles in 2022.

That's an average of 0.151 pieces of writing a day, compared to 0.211 last year.

2023 was a weird year. I lost a team member, gained a whole section's worth of subordinates, got a new team member, transited from solely being an engineer to a leader/manager-engineer (running appraisals and all the other crazy things asssociated with the managerial-class work), caught/recovered from COVID-19, completed my set of dizi, pulled the trigger to get Stella before the price increase (and before the master maker passed on due to age), started serving in the music ministry of PPCC with Aurelia/Stella, performed with the TGCO in a couple of performances with quite a few newbies, and a whole bunch of other things that I cannot remember precisely.

What else is there to say about 2023 in retrospect? Nothing much, surprisingly. I think I'm fast reaching the age/period of life where I just don't bother looking back any more, not because I'm some kind of visionary (I'm not), but more that the past is starting to become something that is just not worth looking back one. I mean, when we look back at the past, it is usually to reminisce about something that was from back then that made one feel all nice and fuzzy about.

But for me, I don't have much to look back into the past any more. The ``good times'' are long gone, and no thanks to the great time separation that has been humourously called ``before COVID'' and ``after COVID'', the ``good times'' feel even deeper in an era that bears almost not resemblence to who I am now.

The running theme that seems to be with me is that of isolation. Yes, I may be serving in the church, I may have a care group to work with, and yes I have may have made a couple of newer close friends as compared to before, but somehow I was always alone. Okay, Jesus is with me, but He doesn't talk back the way regular people do. It's kinda okay though; while I may be alone, but I'm never truly lonely, if you can understand the difference.

For those who cannot understand, I'm afraid that I have no other means of explaining it. It's like the crude but effective metaphor of ``I can teach you to take a dump, but in the end, you'll need to do it yourself to figure it out'' (a similar concept works for gaining enlightenment, no matter your predilection for beliefs).

``MT, are you then resigned to your fate of not having a significant other?''

Yeah, I suppose so, though I have not completely killed off the possibility by taking what I would call ``irreversible changes'', like reallocation of my budget that were originally set aside for prosaic things like the wedding ceremony, the joint spousal account and the like. Call me a hopeless romantic, but maybe a miracle may happen, though like all people who sort of understand miracles, I cannot see how one might occur if all I do during times when I'm not working, or at rehearsals, or serving in the music ministry, is to stay the hell at home and do whatever I want without leaving my room.

🤷‍♂️

Anyway, that's as much retrospection that I'm willing to allow myself for now. The year 2024 is upon us, and there is a lot to be done. Work-wise, we are starting to see some of the stuff that we need to deliver, and so there's that. Music-wise, we need to ramp up [a little] on our performances just so that we can rebuild the much decimated TGCO due to COVID and other life priorities of the members that got in the way.

As for my personal life side, may the Lord be merciful.

Amen.

Getting High in Church, and Elden Ring

Whew... that was something.

So let's start from the beginning. Back in April this year, I got Stella. There were some logistic issues and what-not in getting her, but those were eventually settled. In that same entry, I talked about serving in the Music Ministry. I played a simple hymn in a quick audition on Aurelia, and had a quick chat with the music coordinator, her husband, and the deacon in charge of the music ministry. It was a very casual chat, and they were just trying to see how I could fit in with the current structure of the ensemble, seeing that I was bringing in a flute to a piano-[electric-]organ-violin ensemble. I started playing every other week, then building up towards playing every week. I came in earlier to rehearse with music coordinator to get a better sense of the play style and the repertoire of the hymnals, and that was before we had the usual rehearsal with the playing group before the service itself.

I built up confidence over time with the ``feel'' of the hymns, and got used to the keys that I had not played much of since my Kiltie Band days (hi A♭-major, E♭-major, and D♭-major) on Aurelia. My goal was to play good enough to blend in with the ensemble---the music works with the congregational singing to praise the Lord, and therefore it was not necessary to stand out in any way.

That changed for these couple of days, namely for the Christmas eve service and the Christmas service. I pulled out Stella, and for the carols, just went high as needed, going 15ma as opposed to the usual 8va that I would play with Aurelia (hymns tend to stick within the grand staff, with the main melody staying completely within the treble clef, but largely having middle-C and lower, making it impractical for the concert flute to play as is without the 8va).

Stella was wonderful. I didn't play everything at 15ma---much of the carols were played at the usual 8va, but since Stella is 8va higher than Aurelia, it means playing in the first register. This is where Stella's access to B4 was amazing. I would sneakily play Stella at how I would play Aurelia, before bursting into full technicolour 15ma for that added sparkle and sweetness.

The feedback for the two days' playing this way was positive; the congregation apparently loved it, and had fedback to the music coordinator about it. Even Paul, who is self-declared not musically-inclined, finally made a comment of hearing me play and liking the lilting sparkle that Stella imparted.

Was it vindication? Vindication of what though... that I could control myself and sound sweet at 2 kHz range? That the MINI (not really a piccolo, but I just called it that to avoid a looooooooong discussion point) is the perfect instrument for this range?

Nah... I mean, my personal bar for myself is kinda high. While I have about 12 years of piccolo experience (damn it has been 12 years?!), it is the 31 years of 笛子 playing that is pulling much of the weight. I go ridiculously high all the time with my dizi playing, and I think it has conditioned me to handle the 2 kHz range with greater control than I would normally have without having done that.

But, at the risk of being smug, it is nice to be appreciated.

------

In tangential news, the bag that holds my special music stand finally ripped the seams beyond the 50% mark. I spent part of yesterday afternoon sewing that stitch back, before using fabric glue and some spare fabric salvaged from an old T-shirt to strengthen the seam more. It held out well today, but only time will tell.

Part of the reason why the bag gets ripped at the seam was the way that I'm carrying it. Previously, I would sling it on my right shoulder like normal, but I didn't like it. With the backpack gig-bag, it was always in the way whenever I had to switch the backpack to the front before sitting down at a seat on public transport. So I started to cross sling the music stand bag in the front, with the left shoulder being the higher holding part. And this is where additional stress from the poke-y bits of the folded up stand act on the seam on the bag, which is already supporting the entire mass of the stand (it's heavy) due to the position and design.

Having the bag slung in front allows me to just quickly switch my backpack between the front and back.

------

Aaaaaanyway, I talked about waiting to see if Elden Ring was on sale.

It was.

It had a 40% price drop, which was pretty large. I took the opportunity to get the Deluxe edition just so that I would have the soundtrack as well.

And since I was already buying something, I bought a few more other games from the Steam sale. But you probably don't care about this.

Elden Ring. Oh yes, fucker's hard... but it is actually still fun. There's just so much to see and do, and each fight is like a timed puzzle.

Don't get me wrong, this fucking game is hard, and there were some bullshit moments [when fighting the Tree Sentinel in the beginning area] that I thought was unfair (got trapped in the scenery, for crying out loud). Runes are used for everything, and dying does make one drop it all. Hollow Knight does that as well, but what Elden Ring made better was to allow that dropped runes be persistent between gaming sessions until either one picks up their dropped runes, or when one dies again.

The routing to the Boss that one died to in Elden Ring also tends to be straightforward, allowing resets to happen faster and not overly punishing the player to redo the entire dungeon to get back there.

The levelling up system is slow as molasses, but then I realised that it would be exactly like how I would want to create a game that tried its best to mimic reality while keeping the fantasy moments. The action RPG nature of Elden Ring means that apart from just the numbers, there is still that meta-game of actually being skilled at the mechanics.

And I like it. It scratches the kind of itch that rogue-likes have, but without the perma-death that can frustrate one who is a little more time-sensitive. The use of the numbers to replace the skill meta-game is interesting without taking the fun of mastering a gamme completely, and I like it.

A lot.

And anyway, that's enough for now. Till the next update.

May Too?

I could, in theory, have taken my off-in-lieu for previous Saturday's Hari Raya Puasa some other day.

But I chose to take it today, the day immediately after Labour Day, for the sole reason that it will be a day off on a day that isn't a day off for most people.

I would have spent it at MusicGear just putsing about, but since I already did that last Saturday when I took some of my ladies (Stella, Aurelia, and Eliana) in for a look-see at WindWorks. Stella was due for her tune-up after the first month of playing, Aurelia was in for a worn out bumper for the B♭ lever, and Eliana was in for... too many clacky sounds due to worn out bumpers and imperfect regulation to begin with. And Sean has brought in something interesting that I play tested---not sure if I would buy it since it involves electronics and I'm not particularly kitted out for that, but it definitely does bring some rather interesting possibilities. The other classically trained woodwind players in the shop found that interesting thing a little tough to work with though, possibly because they operated from the absolute pitch world of music, as opposed to the relative pitch one that I worked with most of the time.

That and probably because the interesting thing used the simple system as opposed to the keyed systems that most woodwind instruments these days have.

Anyway, an additional day off, and I went cycling along the North East Riverine Loop once more. The Loop... each time I go cycle on it, it shows changes. This time round, some parts of the tarmac were converted into pure concrete, and damn it was hot when I went over it in the morning on my bicycle---I could feel the infra-red energy just blasting at me; it was not at all comfortable.

But cycling is fun. I should do more cycling. I used to cycle to my office, but thanks to all the constructions now, that is not possible any more, and so the next best thing is to actually make an effort to cycle around my side of the island.

Cycling made me think of an old acquaintance with an unusual name, and as such, I shall simply call her ``E''. I met E back when I was still active in Aikido, and she was a fun person to train and hang out with. She got married (of course), and while I don't actively chat with her, I still follow her adventures of cycling all over the world with her husband.

It's interesting because that whole cycling persona was something that she developed much later, after her short foray into Aikido, and her longer one in outdoor adventures in general.

I did muse to myself if there was some new persona that I would like to take up, not with the intention of getting hitched of course, but as a different means of living yet another type of life.

No answer to that now. I suppose one dependency on it was whether I wanted to run my own household. I'm past the age in which the government gives a crap with respect to housing, i.e. I can, if I wanted to, get ahold of some brand new one-room/two-room apartment, be chained to a multi-decade mortgage, and have all the space that I need to run all the interests that I have.

But it also means that some fifteen or so years later, I will need to somehow come back to my childhood apartment to take care of matters after my parents have passed on. Not to mention my quiet worry of my parents living alone without some kind of alert observational supervision the way that I am doing now---they aren't dumb people, but sometimes they are so set in their ways that they need a proverbial bonk in the head to wake up a bit more and look at the world for what it is.

Decisions, decisions, decisions. The mark of an adult, especially when the decisions matter. And when the decisions start to matter for more than just oneself, be it family or subordinates, maaaaaaaan it starts to be Serious Business---the mark of an adult in middle age.

Anyway, that's enough for today. Tomorrow, I'm back to the office, and there are things that need to be done. Meanwhile, playthrough two of Nier: Automata awaits.

Till the next update.

Stella [Nagahara]

It has been a while since the last entry. Things are progressing well enough in life, and I thank the Lord for that. That said though, with this month (and thus the second quarter) finally starting, the road ahead is likely to see even more things that are happening that will strain and stress every fabric of my being.

But first, for something happy. After thinking and saving for nearly eight years, I finally got ahold of a Nagahara MINI in African blackwood, with the basic M1 headjoint.

I call her ``Stella [Nagahara]'', named after Stella Chang, better known as 张清芳, a Taiwanese songstress active in the 1980s/1990s who is well-known for her clear vocals and ability to hit the high notes. She is contemporaneous with Teresa Teng, but I decided to name my new MINI after her instead of Teresa because I find that Stella uses high notes more frequently than Teresa does, and that they always sound so clear.

That's what my MINI's timbre is like.

I will just copy wholesale what I had written in my email correspondence with Nagahara Flutes:

In terms of first impressions for the sound, it sits between the conical bore set up of a regular piccolo, and the cylindrical bore set up of the all-metal ``marching'' piccolo. For the repertoire I play (more relating to the Chinese orchestra than regular piccolo/flute music), it is of the right timbre. The added range on the low side definitely helps, though I definitely need to get used to the different resistance needed for the high notes -- almost all my flutes (used generally here to include the piccolo and dizi) vent out much earlier than the extended tube. General responsiveness across the three main registers are quite high, and the mechanisms were nimble enough to make me forget that I was playing a keyed flute as opposed to the simple one often found in the dizi (my primary instrument).

After taking Stella into rehearsal on Saturday, I have a bit more to add: she can really go high without sounding shrill, hitting concert C8 and C♯8 quite nicely, and not displaying any of the usual problems of intonation for piccolo with respect to the concert B7 note.

I would say that Master Kanichi Nagahara has achieved his exact aim of making a miniature flute with the MINI, as opposed to ``just'' a piccolo with extensions for concert C♯5, C5, and B4. The resistance (used here as a catch-all for amount of effort required to change the embouchure + air stream to sound a note at mf) is very consistent, similar to that of my S.O.S., which shares a similar geometry as it is an Armstrong 204 that has a cylindrical body bore. It is actually easier to play on Stella than the equivalent G 梆笛 for the same set of high notes, but this is hardly new since almost all piccolos play easier for the high notes once one goes beyond concert C6.

``But MT, why did you suddenly decide to pull the trigger and buy now? I thought you were `scouting around to learn more on getting a better piccolo'. What changed?''

It's hard to really say what was the big trigger. Part of it was definitely about the recollection of a statement that Sean made some time back about how Kanichi isn't exactly getting any younger, and my realisation that throughout these eight years, there was still only Nagahara Flutes that made an instrument just like the MINI. My shopping list did posit the option of either the MINI or the Braun ``small flute''. I had tried the Braun small flute and liked it, but it went down to concert C4 only. It's subtle, but if I really wanted a viable option to cover the 梆笛 range comfortably, it had to go do the concert B4 (this is the lowest note of the lowest dizi that ``counts'' as a 梆笛---the E 梆笛).

And thank the Lord for that quick thought of just pulling the trigger---I initiated the email conversation near the end of February 2023, and managed to commit to an order before the most recent price revision that saw an increase in prices across the board.

That said, I should really remove all the other piccolo options now that I have my End Piccolo, but I'll just leave them there for now as a record of high-end piccolo makers/marks.

------

With the something happy said, we'll progress to something a bit more serious. After two plus years of following Christ, and a year and change after baptism, it's finally time to actually serve instead of just being served. I don't have the kind of easy-friendliness that many long-time Christians have (I wonder if I still have trauma that I haven't sorted out, or if I'm just not good enough yet), and therefore can serve only in capacities that deal with people but in an abstract way. I have indicated interest in serving the music ministry at church, and will be going for a simple audition and a chat with the deacon in charge soon. I did send the music ministry folks my battered-ass performance resume---I'm no professional by any measure, and much of my experience comes from the Chinese orchestra tradition at an amateur level.

If God is willing, I will pass the audition and serve as a musician in the music ministry. That's the least that I can do to contribute back to the church community, seeing that I'm not good/willing to work with children, not friendly enough to be part of the greeters' ministry, and not street-wise/savvy enough to support any of the many professional skills-related ministries (why would the church want a computer scientist who has machine learning background serve using the aforementioned ``professional skill''?).

I could write more, but I suppose some 900+ words are sufficient for now. Till the next update then.