The concept of pitch in string music kind of weird — there aren’t any frets. Vocal chords are strings too, but we think of speech as sliding up and down through a frequency spectrum rather than cycling through a collection of pitch choices. Strings can produce beautiful melodies, but traditionally expressive melodic content is actually constantly correlated with pitch indiscretion — gooey shifts, portamento, wide vibrato. Maybe removing the discrete identity of the parameter altogether makes room for maximum expression, or at least greater expression in other parametric worlds like rhythm, texture, or whatever is made possible by the mechanical potential of the way the instrument is designed: a blind man developing a wicked ear.