I picture Martin Hayes in the studio recording a tune; taking out his fiddle, making small talk while rosining his bow, checking the tuning and then waiting for the nod. As he starts into it, all sounds good, nice and loose, with some lovely gentle grace notes in the repeat, but then just as he goes into the second half, he stops and observes, apologetically, that he has forgotten how the first part went.
“You mean the second part?” the recording engineer asks, confused.
“No,” replies Martin Hayes. “The first part.”
“But … you just played it beautifully.”
“No, I don’t mean the notes, I mean I’ve forgotten how I played it. Sorry, I’ll just have another go at it. I’ll listen better this time.”
The engineer, none the wiser, resets the desk.