yes, and it's not even a linear journey. It's one where we can revisit old pieces as often as we like, and improve. I'm having fun with one of the more accessible Telemann flute fantasias at the moment (No. 3), which is a case in point. I started looking at the gigue section quite a while back, but have extended this to having a go at the whole thing. At the moment, it's just a play-and-enjoy piece, without worrying too much on how it ought to be done. But there's a whole wealth of musicality that could be added, had I the ability or knowledge to do so; next time round, maybe I will be able to start. The better composers all seem to have this ability to write music that works at multiple levels (a bit like good script-writers can write kids television that is equally enjoyable to adult tastes? Maybe people like Bach and Telemann knew their work had to appeal both to unskilled and highly skilled performers?).
Transposition on recorder? Bah humbug, hate it! It's horribly difficult, and downright depressing for the ex-keyboard person, for whom octave transposition is just a matter of putting the chair in the wrong place. You have my admiration, anacrusis!
For syncopated stuff, off beats, there's a dance movement from one of the fantasias a few pages further along that's lovely - I can't remember which number it is. I can't play it without counting v-e-r-y s-l-o-w-l-y which messes it up, so it's on my wait-for-later list.
Zixi, you made me laugh with your counting bars of piano! My first proper playing with others was as a bottom-of-the-pile, no-musical-experience percussionist with a school second orchestra. Ah, the happy days of 45-two-three, 46-two-three, 47-two-three, PING! Triangular musicianship in action. Bass drum was nearly as bad.