Veraldi nodded.
“Good. Well, I’ll see you tomorrow night, and I should have something to tell you about guitars then as well.” Atwood looked up at the clock. “Oops. Gotta go. I need to get to the radio station. My program goes on in an hour.” He stood and shook hands with Veraldi.
Three hundred dollars! Giouan almost beat his head. That wouldn’t take all his money, but it would take enough that he wouldn’t be able to stay long in Grantville. If he took lessons as well, that would shorten the time available even more. But if he got the banjo, he would need the lessons in order to get the best out of the instrument.
Giouan walked along, kicking at rocks on the sidewalk. Three hundred dollars. One hundred and ninety pfennigs. He stopped, and took a deep breath. Did he want the banjo and the guitar if he could get them? Absolutely. That desire went to the bottom of his soul and curled around its foundations. The question now was how could he get everything he needed if he bought the instruments?
That question occupied his mind for hours that night. He wrestled with it non-stop-explored every possibility-and in the end there was one way he could think of, one path open to him: the last resort of any good musician. It tore at his heart, but he saw no other way to get what he wanted.
Monday
Atwood looked up from his guitar when Lucille ushered Veraldi into the studio. “Ah, good, right on time.” He continued playing until Veraldi sat on the stool opposite him, then set the guitar aside.
Veraldi looked like a wreck. There were deep bags under his eyes, which were bloodshot. From the looks of it, he was either hung over or he hadn’t had much sleep the night before.
“You’ve probably already learned that we Grantvillers are a pretty informal people,” Atwood began. “Since we’re going to be working together pretty closely for some time to come, I’d like you to call me At, and if I may I’ll call you John, which is what your name translates to in English. All right?”
Veraldi’s eyes opened wide. “That is…improper for a master and student.”
Atwood snorted. “I’m not a master, John. Oh, I’m a good guitarist, and a passable amateur singer, but I’m not a master, not in the sense of your meaning, and not in the standards of our people either. I’ll teach you as much as I can in the time that you have, okay? But leave that ‘master’ stuff out of it.”
“Okay,” Veraldi responded, “but if I call you Master At, please do not berate me. This is a hard habit to break.”
“I think I can live with that, John. So, where do you want to start?”
Veraldi swung his bag off of his shoulder. He held it in his hands for a long moment, then looked up at Atwood. After a hesitation, he said, “Master At, do you know anyone who would be willing to buy my lute?”
Atwood was shocked. “John! You can’t sell your lute.”
A determined expression came over the Italian’s face. “I do not want to. She has been my life and livelihood for years, a part of me.” He swallowed. “But lutes are common, Master At. Banjos and up-time guitars are not. I must seize the opportunity before me. To do so means that I must sell my lute.” He looked down again. “As much as I have taken this instrument for granted over the years, I find that the thought of losing her is very painful.” He squared his shoulders and looked up. “Nevertheless, it is what I must do. I have been to your bank and have learned about money here in Grantville. I think she is worth five hundred of your dollars-a fair price for a master class instrument made by the Sellas family.”
Atwood’s thought whirled. “I see. Let me make a phone call.”
After a couple of rings, the phone on the other end was picked up.
“Hello, Ingram? At Cochran here. You know that four-string banjo we talked about? Well, consider it sold. My new student John Veraldi has an excellent lute that he’s going to sell and he’ll buy the banjo out of that.” There was a burst of conversation from the other end. “Yeah, it’s really fine. Made by the Sellas family in Venice. Supposed to be top-drawer craftsmen.” More conversation. “Yeah, you talk to old Riebeck and see what he says. I imagine we can work something out. Okay. Good. See you soon.” Atwood hung the phone up and turned to the Italian.
“Okay, John. Here’s the deal. I’ll buy that lute from you for your price. I’ll give you three hundred dollars cash, plus in exchange I’ll give you a month’s free lessons and this.” He opened a closet door and pulled out a guitar case. It wasn’t as nice as the cases his personal guitars were in, but from the look on Veraldi’s face it didn’t matter. He set it on the table and flipped the lid open. Veraldi slid off his stool and reached for the guitar with hesitation, but at length grasped it with a firm hand and took it out of the case.
“That is a classical guitar, John. It belonged to a student of mine who was left up-time. I was making a small repair to the tuners when the Ring of Fire happened.”
Atwood looked at Veraldi, trying to hold the guitar in the way he had seen the up-timer hold his. “This type of guitar was a standard design in the up-time.” Atwood picked up his own guitar. He held it up beside the one the Italian was holding. “See, almost identical in size.”
“Is yours a better guitar than this one?” Veraldi asked, looking at his guitar with hungry eyes.
“Yes, it is.”
“It is fitting that the master have a master class instrument.”
“Well,” Atwood chuckled, “mine isn’t exactly master class.” Veraldi looked at him with questioning eyes. “The real master class instruments up-time were made by hand using techniques almost identical to those used by down-time luthiers today. It takes a long time to make an instrument that way, and their very best instruments commanded prices in the tens of thousands of dollars. Only the true master performers could or would afford those kinds of prices.” He sat down and cradled the guitar. “No, this was assembled in a factory, using a lot of hand labor, true, but the goal of those making it was not perfection, it was ‘get it as good as you can for the material we use and the time we let you spend on it.’ I’d call it maybe high journeyman work. This was made by the Takamini company, and it cost me about eight hundred dollars several years ago.”
“Are all your guitars like that?”
“Umm-hmm.”
“If these sound so good, it is to be wished that a true master class instrument could have come back with you.” Veraldi sounded wistful. “I would really like to hear such.”
“Sorry,” Atwood chuckled again. “Nobody in the Ring of Fire-including me-would have dreamt of spending as much on a guitar as they would have spent for a car or a house, even if they’d had the money to spare.
“As I was saying, this is a classical design guitar. Almost anything that can be played on a guitar can be played on this one, but it was customary to play certain types of music on the classical and other types on the other guitars.
“So, shall we get started?”
Giouan felt as if he were walking on air. He had a guitar, and he would get his banjo tomorrow, after meeting Master Atwood at the bank at noon. Things were working out so well.
It indeed pained him to leave his lute behind, but if he had to leave her, he was glad that Master At had taken her. In the master’s hands she would be safe and valued as she should be.
He looked down at the guitar case he was clutching. In his own hands he held the future. With this guitar, and with the banjo, his fortune and his reputation would be made in Italy.
Days passed. Giouan had a facile memory, and his speed of learning surprised Atwood, who kept giving him more and more information and more and more music to study and learn. Veraldi acted like a man dying of thirst and hunger who had just been placed at a feast. Atwood didn’t focus on just musical technique in his teaching of Veraldi; he also spent some time on musical theory. Every bit of musical knowledge Veraldi was presented he consumed. He even parted with some of his precious silver to have some of the high school students copy music for him, music that he didn’t have time to learn right then. But above all, he practiced.
Giouan would always remember the smile on Master At’s face that day.
“This is not only a good piece of music, it’s also incredibly fun. It was originally written for solo guitar with an orchestra interlude by a man named Mason Williams. Another guitarist named Edgar Cruz arranged it for solo guitar only. I love it, and I want you to learn it. It’s named Classical Gas, and it’s a bit of a showpiece, as you’ll see.”
And yes, Giouan saw. It was indeed a showpiece, one that he also fell in love with at first hearing, watching
