Sherlock Fanfiction: C# Minor
Feb. 4th, 2012 01:07 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
saki101Title: C# Minor
Author: Saki101
Genre: pre-slash or slash
Rating: PG
Length: ~1500 words
Warning: Spoilers for second season.
Disclaimer: I don't own BBC's Sherlock and no money is being made.
Author's notes: This is a companion piece to Untitled Document from Sherlock's point of view. Episode-related, The Hounds of Baskerville.
(Also posted on 221b-baker-str, sherlockbbc and AO3.)
Excerpt: Sherlock studied John’s reflection. John had paused in his writing again, was staring at his hands. John wanted to do something with his hands other than type, Sherlock deduced. Something he was unsure about doing.
(Beethoven's String Quartet in C# minor, no. 14, op. 131 may be listened to here.)
C# Minor
Sherlock stopped to tighten a string, listened to the soft clicking of John’s fingers across the keys of his laptop for a moment before raising the violin to his shoulder again.
John’s rhythm is off.
The note Sherlock drew from his violin was long, low and wistful, in a minor key. The vibration of a string could often convey what air playing over vocal chords could not. Sherlock’s eyes swept over the street outside the window as he played, noted the angle of refraction of the traffic lights on the wet pavement, pictured the way John had held himself on the train from Dartmoor, the tension beneath the seemingly relaxed posture. Nothing so simplistic as arms crossed over his chest for what John was feeling.
Sherlock’s serenade, and without irony he called it that to himself, had begun with a lied by Schubert, but the lyrics scrolling through his brain had been oddly distracting. Sherlock had filed the reaction away to be examined another time and switched to his own adaptation of the first violin's part in Beethoven’s String Quartet in C# minor, no. 14. As he did, he turned from the window to observe John. John wouldn’t recognise the pieces, wouldn’t be troubled by the morbid connection. That would not be the reason the usual half-smile he wore when he wrote up a case was absent.
Sherlock swayed towards the window, continued to watch John’s reflection in the rain-splattered glass as the adagio unwound. Moriarty would have understood all the connections. Duelling with another mind which ran quicksilver like his own was exhilarating. Moriarty’s interest had flattered, despite the violent means employed to express it, until the violence had proved lethal and been turned on John. John, who travelled at a different speed, managed to arrive in very surprising places, taking shortcuts known only to his mysterious heart. Moriarty had been surprised, too. Sherlock had seen it.
The plaintive adagio gave way to the livelier second movement. There had always been Mycroft, of course, part mentor, part rival, able to follow the twists and turns of Sherlock’s mind much of the time, but Sherlock had rebelled against Mycroft taking the lead when still a child. Mycroft had never adjusted to how early in their relationship that had happened. One corner of Sherlock’s lips twitched. Mycroft hadn’t been able to predict John either, hadn't been able to buy him. That hadn’t surprised Sherlock, although the cash would have been useful.
Sherlock saw John glance over the computer screen at him, saw his head move slightly as he followed the movement of the bow for a moment before he returned to writing. The music was drawing John in, his shoulders already less tightly hunched, but the scowl persisted. He hadn’t gauged John’s reaction accurately at all. Since John first offered his phone in the lab at Bart’s, Sherlock had been experimenting on him, intrigued by the way John hid a part of himself behind his apparent transparency. Up until now John had merely been mildly annoyed at some of Sherlock’s efforts, at others mildly amused. Nothing like this. Sherlock’s calculations about John factored in John’s emotions. He had miscalculated before. John's reaction to his impatient punch had been a surprise, but that hadn't been an experiment, merely expediency. Still, emotions were volatile variables and the drug had changed them, complicating the equation further. If he hadn’t known the quartet so well, Sherlock might have paused. The drug had affected Sherlock’s emotions, too, doubly distorting the data.
The bow leapt into the third movement and Sherlock swayed towards John again. John’s brow was furrowed. Sherlock’s eyes narrowed as he considered it. John enjoyed capturing their adventures in words. He often smiled as he typed, his eyebrows lifting when he found a particularly apt phrase, his face lit by the glow of the computer screen, animated by his memories of being with Sherlock. John was not smiling now, his typing halted and limped along, where his fingers usually capered over the keys. John was censoring himself, Sherlock concluded. Sherlock’s bow glided through the fourth movement, the notes delicate and high. John hit the delete key several times. It had not been the hounds in Baskerville that had proved the greatest mystery and John was struggling not to chronicle what was most engaging his mind.
John had revealed his middle name while sitting in the same spot, irked into speaking by Irene’s palpable attraction to Sherlock. Irene’s brain had been attractive to Sherlock, too. Sherlock’s interest in it had confused her and John. Irene had thought Sherlock wanted her body as most people she dealt with did. They wanted it as part of a fantasy she could invent for them, bringing an addictive flash of creative colour into their drab little minds. The technicolour landscape of Sherlock's mind needed no such additions. She had put her intellect to far less destructive uses than Moriarty. Sherlock had enjoyed impressing her, but not as much as he enjoyed impressing John. Sherlock had stopped Irene's studied words from mingling with his memories of John’s pure exclamations of praise. Sherlock’s fingers flew into the fifth movement. Irene had posed a challenge and Sherlock loved a challenge, loved to win, especially against a worthy opponent. There were so few.
Sherlock plucked the strings of the violin. He had turned Irene’s desire against her, bested her at her own seductive game, consisting of predictable manoeuvres, but requiring delicate execution. Sherlock plucked the strings again. He appreciated her enough to save her, had enjoyed her amazement when he had, savoured that what would have been her last thoughts had been of him. Sherlock’s smile grew. That was evidence of a significant impact on someone. Lestrade and his whole pack agreed with that view. These had been sufficiently sincere compliments for him and the rescue had paid Irene back for her opportune telephone call to Moriarty. Sherlock had been satisfied with his victory.
The sweet notes of the sixth movement sang through the room. Playing the role of a pining lover had convinced everyone, convinced Irene that she could manipulate him, that he wasn’t any threat to her. He had glimpsed John’s face when he said, “Composing?” and had had to turn away. John’s concern was visible on his face, audible in his voice along with exasperation and jealousy. He should compose something for John. Sherlock’s mind latched onto the idea as his fingers danced into the seventh movement. What shape would a composition for John take, a march, a rhapsody? A concerto, a nocturne? Sherlock considered the key. Major would be the obvious answer, but it wouldn’t express the darker elements in John’s nature. A suite of songs perhaps, some necessarily in minor keys.
Sherlock studied John’s reflection. John had paused in his writing again, was staring at his hands. John wanted to do something with his hands other than type, Sherlock deduced. Something he was unsure about doing.
Sherlock lifted his bow and shut his eyes as the reverberations of the last note faded. It was time for the next phase of the experiment. He lay his violin in its case and walked to the sofa, quietly arranging his long limbs over its leather cushions rather than collapsing on them in his usual, noisy manner. He didn’t want to interrupt John’s thoughts. John was thinking of him and the thoughts were not all positive. Sherlock pressed his hands together on his chest, the fingertips resting against his chin.
“That’s finished then,” John said.
Sherlock didn’t move. He listened, eyes closed, as the chair creaked and knew John had looked over at him. He wondered how long it would take John to understand.
A few keys clicked, then silence. A flurry of taps, the rhythm of Sherlock’s name being typed out. Quiet. John’s breathing was deep and slow, careful breathing. Another flurry, Sherlock’s name again. John was addressing the other part of the story and it wasn’t easy for him.
I did not mean to hurt you, John. Trying the drug out on you was the next logical step. Sherlock often experimented on himself. When did you become mine to use, John? Sherlock slipped back through the months to the beginning. In the lab at Bart’s, he’d glanced at John, knew immediately why Mike had brought him there, then John had offered his phone. Sherlock had taken a moment to assess John and decided he would accept his offer. John had protested later, apparently not realising that he had offered more than the use of his phone. Sherlock came back to explain a bit, showing John far more patience than he did most people because he had concluded John was worth the effort. That was it. Offer and acceptance. The deal was done.
Five taps. The last hit slightly harder than the others, a full stop. Silence.
Sherlock waited. For John, he continued to have more patience than for anyone else.
Seven taps. The last a full stop. Quiet. Two words, Sherlock’s name once more. Four keys, hit hard. Sherlock turned on his side to face John, eyes still closed. After a long pause, John typed several more words, the last Sherlock. John’s breathing was changing. Often, John’s body spoke for him when his conscious mind would not. Sherlock opened his eyes. It had taken John a long time to catch up, but he was almost there.
John shut his laptop and stood. Sherlock’s eyes followed John through the shadows as he made his way across the room.
~~~~~~~~~~~~~~~~~~~~~~
The sequel, Unwritten Notes, may be found here.
Author: Saki101
Genre: pre-slash or slash
Rating: PG
Length: ~1500 words
Warning: Spoilers for second season.
Disclaimer: I don't own BBC's Sherlock and no money is being made.
Author's notes: This is a companion piece to Untitled Document from Sherlock's point of view. Episode-related, The Hounds of Baskerville.
(Also posted on 221b-baker-str, sherlockbbc and AO3.)
Excerpt: Sherlock studied John’s reflection. John had paused in his writing again, was staring at his hands. John wanted to do something with his hands other than type, Sherlock deduced. Something he was unsure about doing.
(Beethoven's String Quartet in C# minor, no. 14, op. 131 may be listened to here.)
Sherlock stopped to tighten a string, listened to the soft clicking of John’s fingers across the keys of his laptop for a moment before raising the violin to his shoulder again.
John’s rhythm is off.
The note Sherlock drew from his violin was long, low and wistful, in a minor key. The vibration of a string could often convey what air playing over vocal chords could not. Sherlock’s eyes swept over the street outside the window as he played, noted the angle of refraction of the traffic lights on the wet pavement, pictured the way John had held himself on the train from Dartmoor, the tension beneath the seemingly relaxed posture. Nothing so simplistic as arms crossed over his chest for what John was feeling.
Sherlock’s serenade, and without irony he called it that to himself, had begun with a lied by Schubert, but the lyrics scrolling through his brain had been oddly distracting. Sherlock had filed the reaction away to be examined another time and switched to his own adaptation of the first violin's part in Beethoven’s String Quartet in C# minor, no. 14. As he did, he turned from the window to observe John. John wouldn’t recognise the pieces, wouldn’t be troubled by the morbid connection. That would not be the reason the usual half-smile he wore when he wrote up a case was absent.
Sherlock swayed towards the window, continued to watch John’s reflection in the rain-splattered glass as the adagio unwound. Moriarty would have understood all the connections. Duelling with another mind which ran quicksilver like his own was exhilarating. Moriarty’s interest had flattered, despite the violent means employed to express it, until the violence had proved lethal and been turned on John. John, who travelled at a different speed, managed to arrive in very surprising places, taking shortcuts known only to his mysterious heart. Moriarty had been surprised, too. Sherlock had seen it.
The plaintive adagio gave way to the livelier second movement. There had always been Mycroft, of course, part mentor, part rival, able to follow the twists and turns of Sherlock’s mind much of the time, but Sherlock had rebelled against Mycroft taking the lead when still a child. Mycroft had never adjusted to how early in their relationship that had happened. One corner of Sherlock’s lips twitched. Mycroft hadn’t been able to predict John either, hadn't been able to buy him. That hadn’t surprised Sherlock, although the cash would have been useful.
Sherlock saw John glance over the computer screen at him, saw his head move slightly as he followed the movement of the bow for a moment before he returned to writing. The music was drawing John in, his shoulders already less tightly hunched, but the scowl persisted. He hadn’t gauged John’s reaction accurately at all. Since John first offered his phone in the lab at Bart’s, Sherlock had been experimenting on him, intrigued by the way John hid a part of himself behind his apparent transparency. Up until now John had merely been mildly annoyed at some of Sherlock’s efforts, at others mildly amused. Nothing like this. Sherlock’s calculations about John factored in John’s emotions. He had miscalculated before. John's reaction to his impatient punch had been a surprise, but that hadn't been an experiment, merely expediency. Still, emotions were volatile variables and the drug had changed them, complicating the equation further. If he hadn’t known the quartet so well, Sherlock might have paused. The drug had affected Sherlock’s emotions, too, doubly distorting the data.
The bow leapt into the third movement and Sherlock swayed towards John again. John’s brow was furrowed. Sherlock’s eyes narrowed as he considered it. John enjoyed capturing their adventures in words. He often smiled as he typed, his eyebrows lifting when he found a particularly apt phrase, his face lit by the glow of the computer screen, animated by his memories of being with Sherlock. John was not smiling now, his typing halted and limped along, where his fingers usually capered over the keys. John was censoring himself, Sherlock concluded. Sherlock’s bow glided through the fourth movement, the notes delicate and high. John hit the delete key several times. It had not been the hounds in Baskerville that had proved the greatest mystery and John was struggling not to chronicle what was most engaging his mind.
John had revealed his middle name while sitting in the same spot, irked into speaking by Irene’s palpable attraction to Sherlock. Irene’s brain had been attractive to Sherlock, too. Sherlock’s interest in it had confused her and John. Irene had thought Sherlock wanted her body as most people she dealt with did. They wanted it as part of a fantasy she could invent for them, bringing an addictive flash of creative colour into their drab little minds. The technicolour landscape of Sherlock's mind needed no such additions. She had put her intellect to far less destructive uses than Moriarty. Sherlock had enjoyed impressing her, but not as much as he enjoyed impressing John. Sherlock had stopped Irene's studied words from mingling with his memories of John’s pure exclamations of praise. Sherlock’s fingers flew into the fifth movement. Irene had posed a challenge and Sherlock loved a challenge, loved to win, especially against a worthy opponent. There were so few.
Sherlock plucked the strings of the violin. He had turned Irene’s desire against her, bested her at her own seductive game, consisting of predictable manoeuvres, but requiring delicate execution. Sherlock plucked the strings again. He appreciated her enough to save her, had enjoyed her amazement when he had, savoured that what would have been her last thoughts had been of him. Sherlock’s smile grew. That was evidence of a significant impact on someone. Lestrade and his whole pack agreed with that view. These had been sufficiently sincere compliments for him and the rescue had paid Irene back for her opportune telephone call to Moriarty. Sherlock had been satisfied with his victory.
The sweet notes of the sixth movement sang through the room. Playing the role of a pining lover had convinced everyone, convinced Irene that she could manipulate him, that he wasn’t any threat to her. He had glimpsed John’s face when he said, “Composing?” and had had to turn away. John’s concern was visible on his face, audible in his voice along with exasperation and jealousy. He should compose something for John. Sherlock’s mind latched onto the idea as his fingers danced into the seventh movement. What shape would a composition for John take, a march, a rhapsody? A concerto, a nocturne? Sherlock considered the key. Major would be the obvious answer, but it wouldn’t express the darker elements in John’s nature. A suite of songs perhaps, some necessarily in minor keys.
Sherlock studied John’s reflection. John had paused in his writing again, was staring at his hands. John wanted to do something with his hands other than type, Sherlock deduced. Something he was unsure about doing.
Sherlock lifted his bow and shut his eyes as the reverberations of the last note faded. It was time for the next phase of the experiment. He lay his violin in its case and walked to the sofa, quietly arranging his long limbs over its leather cushions rather than collapsing on them in his usual, noisy manner. He didn’t want to interrupt John’s thoughts. John was thinking of him and the thoughts were not all positive. Sherlock pressed his hands together on his chest, the fingertips resting against his chin.
“That’s finished then,” John said.
Sherlock didn’t move. He listened, eyes closed, as the chair creaked and knew John had looked over at him. He wondered how long it would take John to understand.
A few keys clicked, then silence. A flurry of taps, the rhythm of Sherlock’s name being typed out. Quiet. John’s breathing was deep and slow, careful breathing. Another flurry, Sherlock’s name again. John was addressing the other part of the story and it wasn’t easy for him.
I did not mean to hurt you, John. Trying the drug out on you was the next logical step. Sherlock often experimented on himself. When did you become mine to use, John? Sherlock slipped back through the months to the beginning. In the lab at Bart’s, he’d glanced at John, knew immediately why Mike had brought him there, then John had offered his phone. Sherlock had taken a moment to assess John and decided he would accept his offer. John had protested later, apparently not realising that he had offered more than the use of his phone. Sherlock came back to explain a bit, showing John far more patience than he did most people because he had concluded John was worth the effort. That was it. Offer and acceptance. The deal was done.
Five taps. The last hit slightly harder than the others, a full stop. Silence.
Sherlock waited. For John, he continued to have more patience than for anyone else.
Seven taps. The last a full stop. Quiet. Two words, Sherlock’s name once more. Four keys, hit hard. Sherlock turned on his side to face John, eyes still closed. After a long pause, John typed several more words, the last Sherlock. John’s breathing was changing. Often, John’s body spoke for him when his conscious mind would not. Sherlock opened his eyes. It had taken John a long time to catch up, but he was almost there.
John shut his laptop and stood. Sherlock’s eyes followed John through the shadows as he made his way across the room.
The sequel, Unwritten Notes, may be found here.
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no subject
Date: 2012-02-04 02:06 pm (UTC)Yes! You did it! And it's wonderful. *beams* It works beautifully - it could easily stand by itself, but as the balance to John in Untitled Documents it's perfect.
And why do I always seem to hold my breath when I read your writing? (Though obviously I must breathe now and then, but still *g*). I think it's a combination of anticipation, and not wanting to disturb the atmosphere you create - you really draw me into the story.
Just lovely, thank you.
no subject
Date: 2012-02-04 02:54 pm (UTC)It's interesting what you say about anticipation. I usually listen to music when I write, mostly classical and I wonder if the structure of the pieces get into the words. Here I was referring to the quartet explicitly, but perhaps the build up of tension in the music gets in even when I don't. Whatever the explanation, I'm delighted with your observation. You know the encouraging words work miracles for inspiration! :D
Thank you!!! ♥
no subject
Date: 2012-02-05 12:38 pm (UTC)no subject
Date: 2012-02-06 10:27 pm (UTC)Oh thank you! You were right - it's a gorgeous piece of writing - I love the poetry and the gentle humour. Thank you for pointing me towards it ♥
no subject
Date: 2012-02-05 02:53 am (UTC)I like how you have woven the music into this story. My own personal head canon is, as you know, Sherlock feels too much, and so he tries to not feel at all. My idea is that he releases his emotions through music. I absolutely adore the idea that Sherlock is trying to determine what sort of music John would be, and being at a sort of loss there. It works perfectly, since while he knows John and can deduce anyone, at any time, the idea of John still being a sort of mystery because of his enormous capacity to trust Sherlock is fantastic to me. :) I also like the idea that, to Sherlock, a musical composition of John would contain major and minor keys - the fullness of the spectrum - which would reflect how he feels about John. That he adds fullness to his life, in some way, even if he refuses to admit it to anyone (including himself).
Anyway, as usual, it's beautiful and wonderful and you are a genius, my darling. *bows*
no subject
Date: 2012-02-05 12:37 pm (UTC)My own personal head canon is, as you know, Sherlock feels too much, and so he tries to not feel at all. My idea is that he releases his emotions through music.
I am in total accord with this. The way he notices everything, the bombardment of stimuli would be very hard to handle without some barrier/filter, then again, the reactions would have to come out somehow. Music is a perfect soltuion, its infinite expressiveness still confimed within its mathematical structure. (Did you have a chance to listen to the quartet? Ideally, both fics should be read with that playing in the background.)
I recently read a short fic that I think you would like very much, called Fo(u)nd Poetry (http://sariagray.livejournal.com/127128.html).
Thank you again! :D
no subject
Date: 2012-02-05 08:15 pm (UTC)2) Yes, I did listen to the piece. I love string classical pieces as a general rule, so of course I enjoyed it immensely. I thought it was a beautiful work and it mirrored what Sherlock was feeling perfectly, I thought.
3) You're very welcome! I'm so happy you're writing in the Sherlock fandom.
no subject
Date: 2012-02-06 08:56 pm (UTC)no subject
Date: 2012-02-06 10:57 pm (UTC)no subject
Date: 2012-02-08 04:33 am (UTC)no subject
Date: 2012-02-08 08:31 am (UTC)I have only recently begun writing Sherlock fic, so I don't have any other musical stories in this fandom. If you were willing to have a read in another fandom I do though. (Just in case you wished to have a look the first part (500 words) of Third is here (http://mfuwss.livejournal.com/329461.html).)
Many thanks for reading and commenting!
no subject
Date: 2012-02-12 10:10 pm (UTC)no subject
Date: 2012-02-12 10:34 pm (UTC)Hounds, as you can see, sort of tormented me with all the hints that needed exploring.
I am so pleased that you liked the rhythm. I may do another part from Sherlock's point of view at some point. I think being in his head had something to do with the rhythm of it.
Thank you again!
no subject
Date: 2012-02-13 12:54 pm (UTC)You certainly increased my and broadened my understanding of Hounds! Pointed out all these little clues which I had missed upon first watching.
Sherlock appeared very comfortable in your writing style... I do hope you write more!
no subject
Date: 2012-02-13 06:10 pm (UTC)On the subject of beauty and music, here's a link to a Sherlock vid that I think you will very much appreciate (http://sherlockbbc.livejournal.com/3999303.html#cutid1).
I probably will write more, I seem to be a bit possessed by it lately! (Mind, I haven't forgotten our other darlings :D)
no subject
Date: 2012-02-19 05:56 pm (UTC)Our darlings miss you! I'll be happy to form part of your cheer squad for both fandoms :3
no subject
Date: 2012-02-19 06:23 pm (UTC)Keep having lots of fun in England! :D
PS Here's another video link (Sherlock vid: http://youtu.be/-ZUo4iGSXbk (It's a Sin)) If you haven't seen it already, you will enjoy it. And it's by another MFU fan who's also in love with Sherlock.
no subject
Date: 2012-02-18 11:53 pm (UTC)no subject
Date: 2012-02-19 12:48 am (UTC)no subject
Date: 2012-02-27 12:02 am (UTC)I can't discuss what you have done with the music, and the way it ebbs and builds as a counterpoint to Sherlock's thoughts - I know it is brilliant, but I have not got the vocabulary to congratulate you on the way you drive the words with it; and others know Sherlock much better than I do.
Instead I've picked three phrases which go to the heart of the complex character that is John:
John, who travelled at a different speed, managed to arrive in very surprising places
intrigued by the way John hid a part of himself behind his apparent transparency.
John was struggling not to chronicle what was most engaging his mind
because they all ring true. On the surface he is clear and straightforward, but you pick up all the other hints and clues and make him so much more.
Another lovely piece - thanks for the hint.
I
no subject
Date: 2012-02-27 01:03 am (UTC)I didn't mean to make you go search for the story though (I was bold enough to mention it, but not bold enough to give a link!! I think there's a contradiction in there!). If you ever want to find any of my stories, I have an index (http://saki101.livejournal.com/13468.html) that lists them all. (There, I can't get any bolder than that, but at least it is also convenient!)
Thank you so much! (Heading off to sleep very happy now!!)
no subject
Date: 2012-02-29 07:40 am (UTC)no subject
Date: 2012-02-29 08:11 am (UTC)no subject
Date: 2012-03-28 05:54 am (UTC)"Lieder" is plural, but it looks like Sherlock only plays a single Lied? Which one was it? So many good ones to choose from.
Oooh! Sherlock should compose something for John. I agree that it must illuminate his complexity as a character, both the light and shade, and all that's between. I wonder if other modes would work, or if a microtonal scale might be appropriate. And yes to either a suite of songs, or some other type of multi-sectional work.
And is the next phase of the experiment what happens in the minutes following this scene?
Fascinating how John keeps returning to John in his thoughts after he thinks through his relationship to others (Moriarty, Mycroft, and Irene). Does that mean this part of the series is deliberately structured as a rondo?
I'll end these music-related comments by adding that I love the counterpoint you weave here: Sherlock's seemingly cool deliberations against the physicality of John (his fingers, the way he holds and moves his body, his facial expressions, and breathing).
*applause for your work*
no subject
Date: 2012-03-31 01:08 pm (UTC)I went back and forth on this matter because I wanted to use that piece of music, but there are several problems with that as you mention. Since Sherlock is amazing, he could play just the first violin part but it raises two separate questions of why would he? First, why would Sherlock practice playing parts that need to be played with others (three others?!) since he is very much a soloist? (If John were musical, I could easily imagine duets though. I read a very good fic where Sherlock plays a duet with his mother who plays the piano. On that level they communicate, but not on most others.) Possibly when he was young and learning, he performed with others. Possibly Mycroft played an instrument when he was young and perhaps their parents as well and they played quartets. Still that leaves the problem of John then not hearing the full piece. Sherlock might have the rest of the music in his head, but that wouldn't benefit John and the serenade is for him. So after your question made me go back and consider what I had done, I decided that Sherlock has adapted the piece for solo violin on his own and changed the sentence to reflect that. How well that could be achieved is another question, of course, and beyond my depth to know. I noted that there were adaptations for two instruments and for piano, but I didn't see any for one violin. If it's musically possible, of course Sherlock could do it. But even if it is musically possible, is it desirable (except in my head because I liked the music)? It is considered so perfect, would tampering with it be right? Sherlock would probably consider himself up to the task, but still. So, the problem will remain. I should have chosen a violin solo really.
The morbid connection is easier. Apparently, Schubert admired the piece so much that he asked it to be played for him on his deathbed.
Regarding the lieder, I went back and forth as well. Originally, I was thinking that he played two or three or at least started more than one and then was dissatisfied with the lyrics distracting him. Then I thought that even two would take too much time if they were having that effect on Sherlock, so I settled on one and didn't make the sentence agree. I might never have noticed that as I have re-read it and it just didn't click, so thank you again for telling me.
Yes, the next phase is Sherlock stretching out on the sofa and waiting for John's response.
If the story ended up in rondo form, that was serendipitous!
Thank you for reading with this level of care, it helps me clarify my thoughts going forward and to correct a few things along the way!
no subject
Date: 2012-03-31 09:24 pm (UTC)I can see I'm not the only only who has tried to imagine Sherlock in a quartet and failed. :) Or, I could imagine how quickly the quartet would collapse when he raked the other members over the coals. I would also feel sorry for any of his accompanists!
Those late quartets would be a challenge, considering their contrapuntal texture. From what I hear from that violinist friend, even double-stopping for an extended period would be extremely hard to do. That's why I was thinking that Sherlock might try to convert one part into a solo (meaning almost all of it would simply be the V1 part) and hear the rest in his head. At any points where the V1 was put into an accompanimental role, he could try to replace it with a main melody. Could be quite challenging, but SH loves his puzzles.
As for tampering, there is an aesthetic that's associated with Western classical music that you don't try to alter a "great" work, although 1) people have done transcriptions and arrangements for centuries, and 2) that aesthetic itself is relatively new in Western classical music (even the idea of a canon great works is not something believed in for much of music history--people wanted new, fresh pieces). I can see SH happily ignoring the "no tampering" rule.
Yes, I hate when I change tense or the number of subjects and then forget to edit; it happens often enough to annoy me, at any rate!
I love how the rondo form was not planned; I was looking at a rondo and then this part and then made a connection.
no subject
Date: 2012-04-07 10:27 am (UTC)This is something that I always wonder about and cannot make up my mind firmly about. I could definitely see Sherlock thinking that his adaptation would be quite worthy, rules in general don't seem to deter him.
I had not recalled the remark to Sarah about playing the clarinet at school. It would make a nice story for John to retrieve a long-stored instrument and consider trying to revive an earlier facility with it. It didn't strike me that he could be really musical and not have an instrument or singing clearly in evidence, but sometimes circumstances do preclude developing a talent.
Next time I want to take a foray into the musical side of Sherlock, I may have to consult with you first. I know it is distressing to encounter something impossible or ridiculous in a story.
no subject
Date: 2012-08-31 04:13 am (UTC)Well, I think unearthly is the right word to use for Sherlock here, and you really seem to be moving toward the Other Experiments series now. Sherlock is so good a dissecting the actions of other, and manipulating them as well--and though he can interpret them, it seems to me there's something he doesn't quite grasp, though I don't know how aware he is of that; he wouldn't admit it anyway.
showing John far more patience than he did most people because he had concluded John was worth the effort. That was it. Offer and acceptance. The deal was done.
He assumes a power differential in his favor which in the long run is dangerous to both of them. I think it's the power differential which makes me lean towards friendship rather than romance as a better solution for them. Friendship has more breathing space, and this is a relationship where you have to be able to step back once in a while so you're not overwhelmed. This is probably a very personal reaction though and in this case I'm happy to follow you wherever you're going--maybe you'll change my mind :)
no subject
Date: 2012-09-02 11:08 pm (UTC)He assumes a power differential in his favor which in the long run is dangerous to both of them. I think it's the power differential which makes me lean towards friendship rather than romance as a better solution for them.
Yes. It is so different from what we were working with in MFU where equality was very much a possibility and, in fact, their challenge. I have an idea for Sherlock and John which may not work, but if I can get it to work, it might help redress the imbalance. There will be discoveries for Sherlock to make.
Well, I think unearthly is the right word to use for Sherlock here, and you really seem to be moving toward the Other Experiments series now.
I am so pleased you think so! Whether I maintained that growing sense as I went on, is another question, but I am happy that there are at least elements in the Experiments stories so far which seem related to Other Experiments.
Thank you!