[Flashback] Music Is Life (part II)

[Topaz Maelstrom]

Timestamp: 508 AV, Summer 20th
Location: Southern Suvan - Tova Bay
Purpose: Mandolin & Sailing
Status: Closed
Continued from here...

The next day after a long swim and moving her Casinor twice, Topaz was back at her practice. Moon was tied up alongside her but she was busy carving something and paying her sister no mind.

Topaz was more than willing to tackle G now, though to her, it seemed pretty intimidating. It would take her lots of time and patience just learning her fingers how to bend to the chords and what exactly made sense to them in the transitions.

Topaz had a pretty good grasp on D and A by now, and was doing well playing them together. She decided to move on to another chord, a G, and figure out if she could play them all together in a song she knew from drinking with her brothers.

To create a G chord, she fretted the second, or A, string at the second fret with her index finger, and pushed the first, or E, string down on the third fret with her middle finger. It was incredibly difficult, and took her several minutes just to coax her fingers into the right motion. Once they seemed to have figured it out for themselves, she practiced changing from one chord to another to another and back again until she was more easily switching through them. She spent the entire day on it, trying once more over and over and over to change chords up and down. Down and up... until her fingers were nimble. Topaz decided immediately that she'd start mandolin warmup each day with such an excercise. Hopefully she'd get so used to it that she'd not miss a beat.

Every song Topaz knew was something of a bastardization of classics, changed up for her Regan and his love of all things alcoholic.... the next song she tried was no different.

"Will the cork be unbroken?" Was the song she was aiming for, and she was just playing a fragment of it. This time she strummed, while she was on herr D and G chords. It involved striking the fourth string first, followed by a single downstroke on the bottom two or three strings. When she held an A chord, she begin by striking the third string at the second fret (avoiding the fourth string, of course), then follow with a strum on the bottom two or three strings. The rhythm sounded like tick tock, tick tock, with a slight accent on the tock. She sang along as she played.. trying to keep everything in tune.


G
Will the cork be unbroken...
C G
Drink the wine, Man, drink the wine!

There's a better vintage waiting..
D G
On the vine, Man, on the vine...

She smiled, playing the chorus over and over again, practicing her fingerwork and switching between the chords over and over again... G C G D G... G C G D G... She played until she lost all track of time. She kept playing then until her back cramped up and her eyes started squinting watching the changes to the strings. It was frustrating practice.. but she wanted to get it out, wanted to teach her wayward fingers how to use the mandolin's strings. Topaz stopped only when her fingers cramped.. and called it a day

[Topaz Maelstrom]

There was more to life than music, though Topaz wasn't exactly convinced of this. Everyone in the Maelstrom family had a passion. She was absolutely no different. Hers was music, and sometimes she ate, drank, and breathed it.

Topaz knew it was important to learn a few scales, because they contained the notes she needed in order to play melodies. It was what Regan always said... the more words you had, the more notes, the more sentences and the more vocabulary. Music was just like that. Without notes and without scales, there was no way to construct song. All scales contained eight notes; the first and last notes are always the same, but an octave apart. She remembered that from what he'd told her.

She thought about the D scale, and it having these notes:

D E F# G A B C# D
1 2 3 4 5 6 7 8

She tried to find it, the D scale, on her mandolin. The first note of the scale (D, of course) was played by striking the third, or D, string open. Next, she had to push the D string down at the second fret with her index finger and play it . . . that was an E. Then play the D string at the fourth fret, using herr middle finger, to get an F# . . . and at the fifth fret, using her ring finger, to produce a G. She followed that by playing the second, or A, string to get (obviously) an A. She pressed her index finger down on the A string at the second fret to produce a B . . . then she used her middle finger at the fourth fret to play a C# . . . and finally, she pressed her ring finger down on the A string at the fifth fret to finish the scale with a high D.

Topaz smiled in approval. That was it. She ran through it faster, forcing her fingers to behave.

She practiced her scales over and over, using just a downstroke on her pick to strike each note. Then she tried playing the notes by alternating up and down strokes with her pick. I worked nicely so long as she didn't forget to hold her pick properly and to move only her wrist, not her arm, as she struke the strings.

Topaz practiced (and practiced, and practiced some more), until she felt pretty decent at it, then learned to do it forward and backward over and over again until she could do it without the slightest stumbling or hesitation. Then she decieed to really learn how to use the scale of hers.

She knew that scales are the building blocks with which she could create melodies. Once she got comfortable with the D scale and develop a "feel" for the notes - how they sound, and where were on her mandolin's fingerboard - she was ready to experiment a little. She tried going partway up the scale and then back down. She also tried to play the first few notes and then skip a note or two before completing the scale. Then she played every other note. It was really fun, and she found herself loosing herself in the bells working with the scale.

As she became more and more adventurous, she discovered familiar melodies right at her fingertips. She played the first three notes of the scale: D (striking the third, or D, string open) . . . E (third string, second fret) . . . and F# (third string, fourth fret). Then she played her D string open again, and repeat the four notes.

She recognized the tune immediately. It was an old song called "Are you swimming?"? The rest of the melody (and thousands of others) she decided, could be picked out using only the eight notes of the scale.

She toyed with scales a bit longer then once more sat her mandolin aside. It was time to eat, and though her stomach grumbled, there was nothing on Sunseeker to eat. So carefully she morphed into her dolphin form, slipped into the water from a flat spot on the aft deck, and went to look for Crystal and see if she was interested in hunting.

[Topaz Maelstrom]

Topaz had ran through the scales, and learned the chords, now it was time to think on other things. There were aspects of mandolin playing Regan had told her wasn't traditional playing for a mandolin, but she knew she needed to learn them anyhow. Primarily, she was concerned about fingerpicking. First and foremost, she wanted to be well informed on the possibilities, all the aspects of what a mandolin could do, verses what was simply accepted... Fingerpicking definitely fell into that category.

When most people think of fingerpicking, they imagine a guitar or fiddle with bass and melody harmonies played throughout. However, when she thought about fingerpicking her mandolin, she thought this might encompass all types of renderings, from single string melodies (fiddle tune style), chordal comping, alternating bass with melody runs (ruckus style), to counterpoint lines between the bass and melody (classical style). Considering that fingerpicking itself can emulate what a flatpick does with single note runs, she could see that any preconceived notion of what fingerpicking mandolin is, should be shattered from the start.

Topaz was aware that fingerpicking is not a traditional approach to the mandolin and should not be considered as such. But she knew it was Regan’s way, and thus something she'd teach herself as part her of her basic lesson. In respect to traditional stylings, such as country jigs, Topaz decided she'd always keep a defined approach to her learning efforts by separating the mediums and approaches to her mandolin for designated styles of music. She would not try to fit fingerstyle mandolin into a context of which has already been well-established as an accepted genre with a long legacy of players whom have delineated the parameters of the music...in other words, she'd keep the traditional pure! But she also knew if she learned a new approach to the mandolin that would be considered unorthodox, she'd be considered innovative. And music itself was always evolving, so was the way it was played.

Topaz thought about why fingerpicking would be important. It was worth a little time dwelling on it. Traditionally, the mandolin had always been played with a flatpick (what was once called a plectrum)... but it would improve her dexterity to do it otherwise. With that in mind, she thought of all the reasons why fingerpicking was valid with mandolin playing.

1. Mandolin has a very unique voicing as compared to most other string instruments. It can be isolated by ear, within a large ensemble of instruments, far easier than most other instruments with a low to medium range voicing. Because of this unique voicing, as a high-pitched instrument with percussive overtones, the fingerpicking approach to playing mandolin will further establish a polytonal uniqueness which will set it even further apart from other instruments...especially when playing in an ensemble setting.

2. With the fingerstyle approach to the mandolin, you'll be able to play the instrument unaccompanied and still have a fullness with the harmonic support not easily attained with a flatpick. The melody can be supported with an alternating or bass pattern movement that would be impossible to achieve with a flatpick.

3. You'll be better able to understand bass movements and how they affect the melody lines...assiting you with arranging and writing music.

4. You might find it more supportive to accompanying your singing...that is if you're playing alone.

5. If only playing with one other instrument, such as guitar, fingerpicking mandolin fills in nicely...and allows for more support on the guitar's part to take a solo...for you can apply comping with moving bass lines as opposed to just chopping the chords out with a flatpick.

6. There are infinite patterns to fall back on that increases the texturizing of a song over and above strumming with a flatpick...however, one approach to texturizing with a flatpick, in an arpeggio fashion, is called "Crosspicking" (see below) which would emulate that of fingerpicking.

7. With fingerpicking, you can pinch two to three, and even four pairs of strings, simultaneously, which is impossible to do with a flatpick. This pinching of the strings allows chordal comping, or a more piano-like voicing, further enhancing what can be accomplished with the fingerstyle approach to the mandolin.

8. On faster pieces, such as fiddle-like melodies, played in a single linear line, as is common on mandolin, accomplished fingerpicking offers up a very clear articulation between all of the notes...for, on average, when speeding up with a flatpick, the articulation fades and the notes do not have the same distinctness as when played slower (of course, some flatpicking masters of the mandolin have overcome this).

9. When playing crosspicking melodies, it's far easier to play at a faster pace and with clear articulation than with a flatpick...the character of the notes changes between flatpicking and fingerpicking a crosspicking piece. Both have their uniqueness in texture and tonality. It's best to learn both mediums for different applications; only, you will find it to be easier to play crosspicking faster with fingers than with a flatpick for it's easier and faster to pick two non-adjoining strings with fingers than spanning this gap between strings with a flatpick.

10. And, best of all, it's easier to separate the pairs of strings while tuning. You can pick the lower single string separate from the top single string of each pair of strings simply by picking upwards with the fingerpick, or fingernail, and downwards with the thumbpick, or thumbnail (depending on your choice of medium)...I have a problem separating the strings with a flatpick...for it seems that a flatpick will strike both strings even when trying to be careful to hit one at a time.

With all that knowledge in mind, Topaz reviewed her lessons, and started over from the beginning, instead of strumming the instrument with a flatpick, she began plucking the notes from the instrument, calling forth the songs she'd already learned and getting them right. As she did so, the rules she thought of as to why... the ones Regan had spoken of over and over, rang through her mind. Bells later, she was still plucking, grinning, and plucking some more.

[Topaz Maelstrom]

Topaz's mind wandered back, another of her Regan's lectures came to mind on the proper care and feeding of Mandolins. She would have to think carefully on how the mandolin was cared for, and what made it secure. She hoped to keep the one she had for the duration of her life... it was almost everything she had left of Regan besides his Casinor, and she would hate to have something happen to it because of her carelessness.

"As with any high quality, solid wood instrument, humidity and temperature are the most vital variables in the health and well being of your mandolin. They are capable of being your instruments' closest ally or its most devastating enemy. One must be cautious to never expose it to too much moisture or two little... the results evident evident, Topaz. If you expose it to too much moisture it will have raised action, sluggish tones, low volume, the top will belly up, and crack will appear in the lateral finish. Conversely, if its too dry you will get lowered action, your frets will buzz and the ends protrude, and you will end up with dips in the top." Regan said, still sanding the guitar in her mind. She smiled at the memory. How little had she understood that he loved her enough to give her knowledge that she never realized he did. The man had always been speaking, teaching, passing on what he knew as if he felt or sensed his time was limited.

She looked back at her mandolin. What else had he said? Ahh the tuss rod adjustments. While she couldn't quite remember his exact words, she took the mandolin in her hands and examined it carefully.

It was time to make tuss and rod adjustments.

The truss rod in her mandolin allowed her to counteract the effects of string tension on the neck of her instrument. String tension pulls the neck forward and tightening the rod pulls the neck backward. A properly adjusted truss rod equalizes the tension on the neck. Slight adjustments in the truss rod tension would change the amount of bow in the plane of the fingerboard.

Generally, Topaz could see that a properly adjusted truss rod would result in a neck with slight forward relief. To check for proper neck relief, Topaz pushed down on the low "E" string at the 1st fret and the 14th fret at the same time. The resulting space between the bottom of the string and the top of the 6th fret should be about 0.010 of an inch or about the thickness of a thick parchment. She knew that because of Evan's words.. By using this as a standard she could adjust to her mandolin to her own playing style.

To adjust her truss rod she could see that she would need a small crossed screwdriver to take the truss rod cover plate off and a small nut driver for the brass nut on the end of the truss rod. They were tools she'd need to pick up. She thought further about the adjustment.

She could see that by tightening the truss rod, turning the nut clockwise, it would cause the neck to bow backward lowering the string height; too far and the strings would buzz. Loosening the truss rod, turning the nut counterclockwise, would cause the neck to bow forward raising the string height; too far and the mandolin would be hard to play.

The next step was checking her bridge trusses for proper adjustment. She was lucky in that aspect. Regan had left notes in the tiny cavity of the mandolin for her. It gave her a great guide to follow to go through step by step checks, making adjustments as she went.

Topaz, don't forget to check your bridge and adjust it...

1. With the strings off, reach into the body just behind the wood block directly under the bridge and gently grasp the wooden dowel between your thumb and forefinger.

2 . Make certain that there is no play along the lateral axis (running the length of the guitar.) If there is any movement here, the truss will need to be tightened. (See step 4) If there is no movement, move on to Step 3.

3 . Now gently roll the dowel between your thumb and forefinger a few degrees counterclockwise, then return it to the original position. The dowel should feel snug, yet spin with some effort. If the dowel offers excessive resistance, i.e., the dowel won't turn, the truss needs to be loosened. (See step 4) If the dowel spins with just a touch of resistance, your bridge truss is perfectly adjusted. String the instrument and play on!

4. If your bridge truss is in need of adjustment, use a 3/16* Alien wrench and tighten (clockwise) or loosen (counterclockwise) the bolt on the front of the wood block (it is visible through the sound-hole). It is always best to make these types of adjustments in small increments until the proper conditions are met.

She smiled, knowing how to do this now, and as always thankful for Regan’s foresight. Next, and probably the last big project was cleaning the thing. Mandolin's took TLC, and she knew more than most what that entailed.

The fingerboard of her mandolin needed occasional cleaning. It depended on how much she played and her style of playing. But regardless, . If the fingerboard became gummy she needed to lightly rub it with steel wool and mineral oil. Then she'd have to wipe it down with a dry cotton cloth. If the fingerboard appeared dry or cracked, she'd have to moisturize th e wood by using mineral oil on it.

The gloss finish surfaces of her mandolin was very hard and durable, that came from all the coats of gloss Regan had put on it in crafting it for her. She knew enough not to put mineral oil on the glossy finish. Instead, she would use the wax, and keep the wood nice and healty. Do not oil these gloss surfaces. Wipe on, Wipe off.

With that, Topaz decided to pack her mandolin up and call it a day. Tomorrow, she would get down to whole-hearted playing.

[Topaz Maelstrom]

The next day, Topaz was playing for Amethyst, sitting up on the rail of the Sharkchaser, bare feet tucked up under her skirt, practicing. Her mother was weaving, so it gave her something to do while she worked... even if the music wasn't up to par. Topaz loved the acoustics of the larger Maelstrom ship, and so it was here that she decided to take her morning mandolin practice which was becoming a part of her daily life. The Sunseeker was tied up alongside the Sharkchaser, happily bobbing with two or three other Casinors that belonged to other members of the family.

Since going through everything the day before, she felt far more confident, more at ease with the lovely instrument wrapped in her arms. She went through the steps carefully of what she learned, checking the mandolin's action, and running her fingers down it string by string, double checking that it was in tune. It was. Regan built a nice instrument, that was for sure. So, once that was completed, she double checked with the pitch pipe, then laughed out loud as she had that too well in hand. She ran down her chords, going from D to E to C and onward limbering up her fingers, before she danced her fingers across her fretting, making sure that too was tight. It was nice to have a more intimate knowledge of the instrument, knowing which pieces were which, what was where and which action caused which noise. Noise! Not noise, music! She laughed again, and decided she was in good spirits. She ran across the G chord, then started down on her scales, practicing once more, limbering up.

It all seemed in such good working order... the sound clear and the mandolin ready to sing. Sing, yes thats what she'd do today as she played, thinking back to an old song she'd learned a long time ago. Winter was over now... and she thought about that as she strummed her mandolin, launching into a song that would pull all her knowledge together.

" Call all hands to man the capstan
See the cable run down clear
Heave away and with a will boys
For old England we will steer
And we'll sing in joyful chorus
In the watches of the night
And we'll sight the shores of Sylira
When the grey dawn brings the light

Rolling home, rolling home, rolling home across the sea
Rolling home to dear old Sylira
Rolling home, dear land to thee

Up aloft amid the rigging
Blows the loud exulting gale
Like a bird's wide out-streached pinions
Spreads on high each swelling sail
And the wild waves cleft behind us
Seem to murmur as they flow
There are loving hearts that wait you
In the land to which you go

Many thousand miles behind us
Many thousand miles before
Ancient ocean have to waft us
To the well-remembered shore
Cheer up Jack, bright smiles await you
From the fairest of the fair
And her loving eyes will greet you
With kind welcomes everywhere’


She smiled, only hitting a few bad notes through the playing of the song. It was something she couldn't have played before.. though now she did, and without practice, she thought a first attempt was fairly good. She ran through it again, and then twice more, until she could play it without flaw, and laughed. Perhaps, she'd make a bard after all.

Mandolin came hard, not at all like tattooing had come for her.

Amethyst sat through the recital patiently, smiling slightly even when her daughter started over again. Her parents had often wondered why Topaz never carved like Moon. Instead, she'd picked up pen and ink, learned to draw an then later learned to tattoo. It was where her spending money came from, but it was also what fueled her love of music... for art and music went hand in hand.

Her mother paused in her weaving, clapped, and smiled brightly. "I think you've got a good beginning grasp on that Mandolin's of Regans. If you practice it hard enough, Topaz, I think you'll eventually be a halfway decent bard. That really wasn't all that bad for an old hunk of wood and a few days practice." She said softly, smiling slightly. Topaz nodded, agreeing with her. The songs she could play were only simple dinties, little tunes that would amuse only children, but she'd practice, learn to do better, and definitely give it her all in terms of becoming something of a bard.