A manageable fluidity

I have been off hunting and fishing a month, up in the region that she calls Buffalo;  I don't know why, unless it is because there are not any buffaloes there.

– Mark Twain, "Extracts From Adam's Diary"

Arthur Dent was irritated to be continually wakened by the sound of gunfire.

– Douglas Adams, So Long and Thanks for All the Fish

He noticed me not, but resumed his solemn walk, while I, ceasing to follow, remained absorbed in contemplation.  "The old man," I said at length, "is the type and genius of great crime.  He refuses to be alone.  He is the man of the crowd.  It will be in vain to follow;  for I shall learn no more of him, nor of his deeds...."

– Edgar Allan Poe, "The Man of the Crowd"

When I scribble notes for a piece I am to write, or am in the process of writing, the details may not be strictly accurate.  There is no cause for alarm.  The notes are essentially a marker, and/or a reminder, and I may have in mind a bit of musical business which (if I were writing a paper, or indeed simply communicating with a fellow musician) I should really express clearer, or better, or otherwise.

Another consideration, of course, is that I may just change my mind on the fly.

So in my notes of the "Blocks" for Intermezzo III (as illustrated here) I list for percussion wood blocks, temple blocks, marimba and bass drum;  where in the event, I decided on glockenspiel, bongos, wood blocks and marimba.  There are other nits to be picked, only there is no real point.  I am only providing a disclaimer that, just because I have made a certain note, it is not the purpose of that note, that it is a fixed item from which there is no deviating.  I deviate at will.

Well, then.

Last night's work on the Intermezzo was essentially to construct B1, making use both of the 'modules' I had composed out in sketch, and of modifications/additions in the spur of the moment.  I find myself more than well content with the result;  I might then have gone on to realize A2, only it was time to rest.  In all likelihood, I shall see to A2 this evening.  Still contemplating whether or not to 'redeem' the 2006 sketch – in fact, at this instant the thought arises to leave it out of the present Intermezzo, and possibly use it in Scene 12A.

Highly gratified to receive the news that three of my choral arrangements (all of which have been test-driven, and highly satisfactorily, by my own church choir) will see use by the choir of St Paul's Episcopal Church in Delray Beach, Florida:  a two-part choir arrangement of Kingsfold with piano accompaniment, O Come, You Longing Thirsty Souls, Op.35a, which my choir have sung several times to the Palm Sunday hymn text, When Jesus Left His Father's Throne;  my SAB unaccompanied arrangement of a tune from The Southern Harmony, the Epiphany hymn Brightest and Best, Op.139 № 1;  and the recent-ish Come, Holy Ghost, Op.146 № 7, for choir SAB, organ with flute obbligato.