He can't do any of his tricks, no skips or hops while he's concentrating on her and her voice. Instead, his brow furrows, and his expression turns meditative, as he works out the melody.
The first few lines, he only provides the most basic accompaniment to her voice - a few notes in her key of choice, steady and low. As he starts understanding the shape of the melody, though, he plays along with her. By the second verse, he's already adding flourishes, harmonies, proper support to her singing. Perhaps shockingly, Byerly Vorrutyer does actually know how to take backseat to someone, at least musically: his playing is only there to draw more attention to her voice, complement it, rather than to showcase his own playing.
He's not the only one supporting her, either. The other players figure out the melody quickly, as well, and chime in. Before long she has the whole bad backing her, and the Barrayaran dancers whirling joyously to the novel song, laughing and happy. Byerly grins at her over his fiddle.
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The first few lines, he only provides the most basic accompaniment to her voice - a few notes in her key of choice, steady and low. As he starts understanding the shape of the melody, though, he plays along with her. By the second verse, he's already adding flourishes, harmonies, proper support to her singing. Perhaps shockingly, Byerly Vorrutyer does actually know how to take backseat to someone, at least musically: his playing is only there to draw more attention to her voice, complement it, rather than to showcase his own playing.
He's not the only one supporting her, either. The other players figure out the melody quickly, as well, and chime in. Before long she has the whole bad backing her, and the Barrayaran dancers whirling joyously to the novel song, laughing and happy. Byerly grins at her over his fiddle.