My principal cellist thinks I should get the 7/8. Of course she's going to listen to critically in a couple of weeks when I take it home on trial, but she strongly endorses the lateral trade notion. She thinks the size and proportion difference will have a positive impact on my playing and comfort. I am being enabled on all sides. People, you're killing me! I can't afford this for another month, assuming my next paycheque arrives around the eight week post-manuscript-delivery mark (which is not guaranteed). And on top of that I need to do about three hundred dollars' worth of repairs on the cello I've got now. And somewhere along the way we need to do the new computer thing, too, although it's not critical now that I've got the laptop pretty much set up for now. Neither is the cello, of course. I hate being in limbo about so much, work-wise and otherwise.
There is some good news today, however: the publisher with whom I set up the freelance manuscript review gig contacted me this morning and told me they'd pretty much settled after their move and were beginning operations again. So that's less on hold than it was.
The colour of the 7/8 cello I tired is somewhat like the one of this page, only it's shinier with a few more amber-caramel tones to it.
(Originally published at my main journal Owls' Court.)
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