I don’t know. It’s an eolian, not a metrolith; that’s why it’s got that ‘e’ in a double-precision, not a floating point.
If I could have an eolian, I would have used it for years from then. “A metrolith,” I would have said; “with an ‘e’ in place of a ‘i’. You can see how it’d go, but the only reason why I didn’t do it that first time was there wasn’t enough of it. I was too busy working on the real problem I was trying to solve.”
The next few years were quite a long stretch of experimentation for me after that. I got out a few different pieces of music—a quartet, a trio, a trio plus a few symphonies (plus a few operas), and a sonata by Philip Glass.
I also found a few more new things to play: the organ, the saxophone, my old guitar, and my piano. I bought an Arco, which I had been saving for years. When I first saw the piano, I thought it was going to fit in the space, and it looked like something that might work. But I didn’t play it until I saw the arrangement of the piano in the book, and it kind of seemed to be holding things back. Maybe it needed something else to hold itself up? I couldn’t see that, but I learned how to use it, so it worked out fine. Then, one day, I played it for an organ player, who was very impressed.
Eventually, I got my own place to practice too, and in that house I got together almost a full band—all members of which could play a little different. It had no real names, just “the Fender four-string” in a different key, then some jazz standards. That, to me, seemed to give it some life. It felt the way a band might play some of the time, in a setting where they could play on something other than a piano, but that wasn’t their music.
I played all my own gigs with the Fender four-string, occasionally mixing instruments in one setting; I even got one of my old sax players to put together a quartet, which was played every once in a while. All of it was very nice. It all worked very well with all of the instruments I had on my hands. I always
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