Marcin Golab

Hi Marcin. Doh! You are absolutely right!!! I will remove the Adobe Acrobat version - something has gone wrong! Please use the Myriad version for the time being :) Trust this is OK - apologies for the error and thanks for bringing it to my attention.

Hello

here is my transcription of HAADEN TWO from Exposure, maybe it could interest you and your wonderful site.
Thank you

Maxime COTTIN (a french student who's doing his university's master work on Fripp)

Hi Maxime, many thanks for this - I've put your transcription up in the Notation pages.

Dear Mark -

I am an occasional visitor to your website. I have also just started to (learn to) play the guitar again, having taken about a 15 year hiatus.

The recent re-release of "Exposure" has reminded me of what a beautiful song "North Star" is - and how wonderful it would be to learn to play it.

My question to you is: can you possibly help me with the chords/music notation and/or tab for this song?

I have searched the web & the Crimson-related sites and come up empty handed.

Any assistance would be greatly appreciated!

Best,

Hugh Shiebler
Connecticut, USA

North Star - kindly contributed by Andrew Keeling

Accompanying guitar chords (in traditional tuning) to Darryl Hall's essentially improvised soul-like vocal are:

1) The song is in E major and in 4/4 with a swung crotchet/quaver triplet rhythm (it might thought of as being in 12/8). The first chord: f#m7 - no low F# - the bass takes the F#. The two-note glissando run-up in the guitar prior to the chord [the anacrusis] is 4th and 5th string respectively e-f# (4th string) and b-c# (5th string) );

2) The little two-note glissando again (which is an important feature providing movement) and then a standard E major chord. This happens throughout the verse. The f# minor7 and E major chords accompany the North Star..North Star...We stare... vocals;

3) Up to c#minor (for words Within..With you...) on the 9th fret (the little two-note glissando run-up is still on the 4th/5th string but shifted-up to glissando from 9th-11th fret, falling just right for the c# minor chord); then down to the second fret f# minor chord. Then a B7 susp. barre on the second fret (from 5th string) to complete the verse;

4) The central section (I stand in the hallway) is open A 5th string as a pedal-pitch, with the top two strings for the following descending dyad's: C# (1st) A (2nd); followed by B/G#; to A/F#; then G#/E; into the two note glissando on strings 4 & 5 fret 2-4 and the B7 susp. chord (2nd fret) for the cadence;

5) The structure then repeats.

6) The overall harmonic scheme is: f#m7 (ii7) - E major (I) - c#minor (vi) - f#m (f#m7) (ii/ii7) - B7susp. (V7 4-3).

This period Fripp is mainly stripped-back to point-up Fripp's Bennett/New Wave interests. Unusually, North Star is also a love song. At the time no-one knew that in due course King Crimson would return to active service, which makes NS research material for Discipline's Matte Kudesai. Everything about North Star points to the shift away from the classical Progressive-Rock - certainly away from Mellotrons - which King Crimson had initiated, into a simpler, possibly leaner Eno/Bowie experimental/minimalist style with an overriding American way of doing things. Fripp was close-up to this living in New York at the time, had recently played with Blondie and was exposed to many of the contemporary NY New Wave influences. However, Exposure continues to explore structural concerns (i.e. juxtapositions of material) found in the context of King Crimson Mks I, II and III, yet applied here in a slightly different way. It's as though the move to New York allowed Fripp to continue exploring his own emerging musical voice, as well as finding new ways to navigate King Crimson into the future.

(AK - 08-08-06)

Actually that song is one of the best I heard from King Crimson. I am running a project using midi files I create my own but in the case of Red I used your very well done file to record the song. I am a guitar player from Puerto Rico. Now I will finished with your help the Larks' Tongues In Aspic - Part II. This arragements will be available soon in the site of Trentum.net. And also in the NeverLand X Project. Also we are recording from other bands excellent pieces. We have a very nice project to share with people because what we are doing is bringing all these excellent pieces with the sound of 2006.

We hope people enjoy our "upgrade" to the songs. Also I am asking for your permision to use the Red Midi File and the Larks' Tonges in Aspic -Part II. We will only use the midi files to record and give you the Credits of the composing. We will take credit for what we will record like, vocals, bass, and guitar parts. About our project we are just a bunch of professionals that enjoy this music and is our hobby to play this stuff. That is why we will record all these songs and will share free MP3 file format to the world as you are sharing your midi files with everybody.

We do not lucrate in any form from it. We are working only in an exposure good music site that is in a Private Web Server. So we are not spending nothing, then we are not interested in earn nothing from this music we are recording.

My friends are asking if you are interested to be part of this effort. For you we placed "Red" Mp3 played by us and you "keyboards", "bass", and "drums". I played all guitar parts and also did the production. I hope you enjoy it at http://www.julioviera.d2g.com/covers/ . Listen to it and tell me what you think of your work and what we did with it. You are a excellent putting the King Crimson feeling on the midi files. Also we all have to give the credits to King Crimson that are the original artist who did and played these songs. Please listen the song and tell us if you want to colaborate.

Regards from Puerto Rico,

Julius Evinie

Guitar Player

Never Land X Project

That's brilliant, Julius! But why no Puerto Rican treatment? ;) Sadly the originator of the 'Red' midi file is unknown.

Ich bin Gábor Fejes-Tóth aus Budapest,Ungarn - ich kann Englisch nicht, nur auf Deutsch....so ich hoffe dass verstehen Sie doch....

Also; ich habe mehreren bass tabs von KC, meistens selbst "untergehört". Wenn sie diesen Sachen an FraKctured Zone aufgonenommen möchten, ich schicke sie sehr gern durch.

Die "Songs", welchen ich habe:

Level Five (für Stick bass side)
Elektrik bass
Facts of life (für Stick bass side)
The Power to belive bass
Dangerous Curves bass
Happy with wath... bass or stick
Discipline für Stick
Frame by frame für Stick
Neal & Jack & Me für Stick
und ich werde auch arbeiten auf den Warr Stimme von FraKctured...:)

am Ende muss ich sagen, Ihre Seite ist echt Toll!!:))

Fejes-Tóth

einegen habe ich vergessen (dass ist mein lieblings Note von Crimson:))

nur als freudentlich, es fallt mir ein - ich male auch, und habe ein Gemalde, das ein Ehrenbezeigung vor der Tatigkeit King Crimsons ist. Es het die Titel: "Crimson Construktion" Meinen Stolz ist, das dieses Gemalde hat die Unterschreibung von Tony Levin, wie mein Stick auch!:)))

Alles Gute

Fejes-Tóth

Many thanks to Gábor for sending these Bass and Stick tabs :) They are all available on the Tabs page

I would thank you for pulished those wonderful files who made this is a very strong mind person and I could not resist to add my personal voice tracks to some of those midi files converting and remixed all in an audio file trying to keep the original sound of K.crimson , it wosn t a bad idea and is working

may someone are interst to contact me about this work becose I did wont give my contribution on they great job in play K. crimson songs and try to move people to that direction of this type of music I hope my eanglish is good enough I am from northen Italy and good job on fraktured zone
I like it .

thanks again Daniel Carotta

Hi there,

First of all, you guys are fantastic! Keep up the good work!

Also, I was wondering if you know of any transcriptions of compositions from "The Power to Believe" which is in my opinion one of the most substantial rock albums ever and a source of hope in a hopeless world. I would very much appreciate any help.

Thanks much,
Collin Landinguin

Can anyone help him? :)

Chris Stewart

Hi Mark!

I assume you will find the attached file interesting.

How about this for an aphorism : Drums are approximative but comments are welcome. ;-)


Take KCare,
Chris
www.poligrafmusic.com

Thanks Chris, I've added VrooomVrooom.mid to the MIDI page

Webmaster

Alan Atwood

I happen to be a proud dad of a 14 year old Crimson fan - no, make that a Crimson fanatic. They're his favorite band. To his pleasure, we've had the joy to catch several California Guitar Trio shows with Tony Levin & Pat Mastelotto; who were all too kind for words.

So it was that we set out for New Orleans from Houston to catch the Crimson show at the House Of Blues. Arriving with great anticipation, we were greeted with great disappointment. It seems that the management, who grew up in an era that promoted music as a cultural and intellectual experience (as opposed to take the money and run), refused to allow my son to see the show. I explained that I was his dad and that we have never had any problems with other venues. Besides, he's 13 (his age at the time) and that alone should qualify as an exemption to such a stupid rule. Afterall, aren't we complaining about "today's music" and here we have a young person who is seeking out something other than Snoop Dog?

Later, we ran into Pat Mastelotto and we explained the incident. Pat seemed a little put out with such idiocy and told us to email his manager if it ever happened again and that he would get my son in the show some how. How cool is that?!

This incident has actually happened other times. Can you believe one venue kept my son from seeing Al DiMeola?

What idiocy!

Therese & Stephane

Hi , I had the privilege to witness the richest loudest Gibson I've ever heard before.
12/0601 Place des Arts, Montreal Qc.

The sound was phenomenal and the concert hall gave justice to Fripp's genius.

Long live the brilliance!

Dave Andrews

I just found this site. Guess I don't "surf" enough.
Hats off to those of you who transcribed these masterpieces. I've been listening and attempting for 20 years. The slower tunes ok, but the fast, crazy, was that two or three guitars? stuff-too fast for me to figure. Even who is playing what notes can be difficult to discern. Has anyone transcribed Discipline? I could surf more, but perhaps you could help me find it faster. My band in Portland Or, influenced by the recent tours of CGT and Trey Gunn want to ever so badly play either Discipline or FraKctured, although our version would be a bit different (with guitar, bouzouki, and accordion) it would be a treat just to practice it (maybe perform- if we could do it). LONG LIVE THE WHOLE TONE SCALE AND MUSIC OUTSIDE THE 4/4 REALM!!!

DAVE

Dave, thanks for your kind words - I've put a transcription of Discipline on the Music Notation page. Enjoy!

Webmaster

willdayble@yahoo.com.au

Hey there...

Well, there's one neat little thing I noticed, but you prolly already figured it.

He stars with the nice lil thang with the whole tone clean guitar, in 5/4 (note), which doubles up later every half (.5 if ya wanna be pedantic) a bar, using the 5th above a lot, which goes into the rest of the song...

I cannae remember exactly, but he repeats the 5/4 in groups of 4 to meet up in 20 beats, of which is repeated 5 times.

I might be wrong on that bit, I lent my CD to a friend, but either way... check the track number, an whadaya know... it's the 5th on the album! :)

They seem to have little 'easter eggs' all over the place. Neat...

Anyway, I gotta fly,

Cheers
- Will.

And FraKctured started life as Larks' V - scary!

Webmaster

Thom Roberts

This was the fourth time I have seen KC do one of their club warmups in Nashville, the third time I have seen the first night!... I still have a hard time believing that they have become a fixture on the Nashville club scene!....

the performance of Frakctured on this night was very different, mainly because they eliminated the first 1/3 of the song, the slow section prior to Fripp's Fancy fingerwork. (I am not a musician and had never heard the word moto perpetous and cannot count 13/8 (or whatever) time to save my life....).....They started right in with the fast fluid solo section, and it felt disjointed to me....Fripp did drop out once during the Terror section, but quickly fell back in , and seemed to exchange grins(yes, as in a smile, I really think the Grim Image is just that, every time I have ever seen him, back to the LTiA era, he has had smile, of sorts!) with Adrian....but all in all it was not a bad performance, just human......they seem to have dropped it from the set on the tour, most of the lists I have seen do not include it.....too bad....it is still an amazing piece of music.....

The new song was called EleKctriKc ("k"s added by me....)

Thom Roberts

Nic Roozeboom

From the Fripp diary excerpts:

"At one point I did something I don't believe I've done before - used the calculator in my watch to figure out my part. Yes: it's math rock! Pat mentioned this last Thursday: he hadn't really believed that was true of Crimson until now. Actually, it's arithmetical, but that's what happens if you have the two guitarists in different meters and the rhythm section independent of both"

I believe (speculatively) this has bearing on a particular section, namely the final repetitive 6 16ths pattern (:Eb-B-A-B-F-B:) at the end of Moto 4, under which Adrian plays variations of the opening bells theme, and Trey & Pat play a rhythmic punctuation pattern consisting of four 4-counts, four 5-counts, two sixes etc through to two tens (see Trey's charts)

The moment of resolution is the seemingly abrupt simultaneous transition into the Outro, the timing of which is determined by an "unlikely" coincidence of all three of these distinct parts.

Without Adrian's part establishing a natural, audible timeline (by virtue of its melody), this is almost impossible (at least humanly) to time.

Let's call this section the Coda (as per Trey's Charts) - I've updated the Notation pages accordingly. Bearing in mind Trey's incrementing measures here (adding a beat to each successive bar) - I wonder whether Fripp was calculating a faKctorial? :-)

Webmaster

Anonymous

Intended for the question mark in the subject line - apparently FraKctured has made an appearance at the Nashville shows, so there's hope for the LA audience and beyond....

Nic Roozeboom

Last night's San Francisco show (first tour night barring Nashville) - no FraKctured performance. Closest alternative: LTiA IV - Robert's solo was in my view the highlight of the evening. Note-perfect, blisteringly fast yet silky smooth... two minutes of sheer brilliance, including the band with the heavy syncopated punctuations - everything right on the mark. Felt great...

Nic Roozeboom

Hi Mark,

Thanks much for the good wishes!

Thought I'd send you a small present for the website - I've had this for a while, but recently I saw the mention of LTiA Pt III in Robert's diary entries. Thought you might like to turn that particular mention into an active link:-)

I hope the MIDI works - my PC seems to be allergic to anything sound-related. If it fails to work at your end, lemme know and I'll put some debug time in.

This intro is of significance to me in relation to FraKctured, firstly because it's the first really difficult Fripp piece that I learnt to decipher and play, secondly as it is probably the preparatory exercise of choice when venturing into FraKctured. It's frequently my warm-up because as cross-picking and right hand positioning goes, the proper execution of this piece is only possible with several aspects developed to the ideal, the most important of which (IMO) the completely unbiased and flexible placement of the right hand - no specific single fixed position will do it; it has to be able to "float" and yet provide your point of reference and balance.

Look forward to reporting on our evening, "on the other side"...

All the best,
Nic

Craig

Hi All,

Is it true that FraKctured can only be played on certain nights--when Fripp is at his best? I look forward to seeing KC at the Palace Theater in Greensburg Dec 2nd.

Anyway, thanks for the interesting thought for a site, it made me stop and write!

Yes, though sometimes it is "violations" such as camera flashes that spoil his concentration and the piece is dropped. Thanks for the kind words - enjoy the gig on Dec 2 - please come back and post a report.

Webmaster

Kade

Hey Mark!

I know I have said this in the past, but I will say it again, I really enjoy your FraKctured site. Who would of ever thought that you could center a site around one or two pieces of music in the Crimson repertoire? I like your site because it is more into the technical than those other Crimso sites, like Krimson News or ET. :)

Take care and carry on!

Kade aka kaveman @ Krimson News

Dan'l Danehy-Oakes

21 OKctober 2000.

The Fillmore is an excellent house for a band like KC,almost exactly the right size and decent acoustically. I was standing close enough to the stage that Mr Belew's abundant perspiration (the man works _hard_) occasionally struck me. I had promised myself I would leave behind any preconceptions about what the band "should" play and be present, as Mr Fripp puts it, with the moment that presented itself; further, the abundant smoke and occasional flashes in the room signalled the "violation" which had in previous shows caused "FraKctured" to be removed from the setlist. I considered it likely that Mr Fripp would call this evening's performance a photo opportunity. So when the guitarists began flinging the initial notes of "FraKctured" back and forth, I was delighted.

Watching the performance of this impossible piece I was struck by the way Mr Fripp played: his dictum that "relaxation is necessary tension" seemed apropos. He was, in this sense, relaxed His body made no unnecessary movements; his face was concentrated but not tightened. He was, in a sense I began to comprehend for the first time, present with the notes he was playing. A friend remarked afterwards that he kept expecting the plastic flesh to drip away and reveal the robot underneath; I explained that this was the exact opposite of the truth: that we had witnessed a singularly passionate performance. The piece requires massive technique, and doubtless the whole is memorized. But while Fripp was playing, technique fell away in favor of performance and he appeared almost to be inventing each note for the first time.

I have since heard (many times, in fact) the "Heavy ConstruKction" performance of "FraKctured," and it is almost another piece from what I saw and heard at the Fillmore. A sceptic might argue that this was due to my personal involvement with the latter event. I would respond by saying, first, that this was exactly the point, but, second, it was wrong anyway.

One of the most amazing guitar compostions! I witnessed the Halloween show at the Park West with my two boys (ages 17 & 15 ) and saw the June 14th show at 12th & Porter with my wife. it ( FraKctured ) was one of the"stand outs" that everybody remembered.
Michael Waugh

I wish I were talented.

(I enjoyed the MIDI of FraKtured.)

Dan

I have, in my past, performed a small number of King Crimson pieces and with the release of _B'Boom: The Official Bootleg_I noticed an incredible similarity to our own rendition of_Larks Tongue, part II_ performed in (about) 1978, particularly the guitar solo as elaborated by Adrian Belew on the "Live in Argentina" cut..

No, I'm not kidding, the resemblance is striking, and I've been quite reluctant to point this out to most of my musician friends. I sent a tape with a friend of mine going home to Poland some time back (+10-12 years) with a copy of this live recording, and have wondered about this since..

Also, as likely, does this "song" simply demand to be played like this, as dictated by some shared muse? We also recorded a version of _Red_ at the same session..

Would you be interested in an mp3 of such?

What bandwidth would you prefer?

--And thanks for an excellent site about my favorite group..

Thanks Kurt, your mp3s of Larks II and Red are now available on the mp3s page. Visitors may like to compare the two solos directly...

Webmaster

Just a quick note to say that I enjoyed your Fracture groove thang. It's a dirty job but somebody has to do it. Well done.

Best wishes,

Sid

Visit Sid Smith's on-line diary at Discipline Global Mobile

Mark,

I have just finished looking over (and reading through) everything on The Frakctured Zone website and I have only one comment . . .Excellent! A "Job well done!" to you and everyone involved. I do not wish to take up too much of your time but (please bear with me) I would like to offer some information about myself and pose a few questions to you. First, a few, quick (and somewhat boring) facts about me . . .I am a 27 year old Crimson enthusiast (some people say fanatic or maniac) living in Harrisburg,Pennsylvania U.S.A. I hold a Master's Degree in Music Composition and Performance and have attend Craft Craft courses through level 5. I am a performing and teaching musician, primarily playing Chapman Stick, Warr Guitar, and electric upright bass (I also play guitar, keys, drums, and saxophone). My question for you is this (prefaced by a brief statement): I am currently transcribing Trey's part(s) for Fractured (and a number of other KC tunes) for Warr Guitar, Stick and/or bass. When I finish them, would you be interested in posting them on the website? Also, I would be interested in doing anything I can to help you out with the website,such as transcribing, answering music theory questions, giving my "expert" opinion (ha,ha) or anything else you may need. Let me know. Thank you in advance and very good work on the website!

E. Scott Parks

Please post transcriptions of Trey's parts ASAP! - I look forward to those and welcome any contributions you'd care to make to the analysis and/or Players' areas.

Webmaster

Thanks Mike for these fine tunings - the devil is in the detail. I've updated the various files and view this consensual development of the transcription as rather wonderful!

Webmaster

Thanks for your message Mark, we survived and got a good take of FraKCtured live, thats the good news. The bad news is that our planned setlist was screwed up by Jim being selected as a juror. He got away during a lunchbreak to play with us for 45 minutes, literally turning up as I was about to try and play bass instead, he walked on stage and they started.

I asked Nic to send you his summary of the take, its pretty clean with a very fast brutal section, I'll mix down to mp3 over the weekend.

Jim is very bummed, he's an alternate juror in a case that will run for months, so no more daytime or away gigs...

Adrian

Hi all,

As agreed, here's my summary of my personal playing experience of (and about) FraKctured on August 10th.

First off, I must apologize for being apologetic. I do not want to detract from the overall playing experience, which was for all a positive one, and one we should be proud of. Also, FraKctured is of course not just about the guitar playing, far from it. But what nags me most is how poorly I played, and how when I noticed as much at that moment, I felt unable to bring about a turnaround in such a way as to complete the piece successfully.

The take is marked by a sense of being overwhelmed by external factors and disturbing elements. The first hint of omething being amiss occurs right in the beginning of the piece, a few bars along - notice if you will the excessively long pause between two phrases in the Intro. The piece could have survived majestically even with that hesitation, perhaps to some comical effect at worst. Where I really hit a brick wall is in the Moto Perpetuo. My right hand felt thick, slow, uncoordinated and what's worst - unresponsive to corrections in position and attack. What also didn't help is that (possibly due to temperature or the salty San Francisco Bay air) the treble strings where the plectrum strikes them felt coarse and corroded, which further added to an overwhelming sensation of losing control of the piece. (This is the kind of music where you'd prefer your strings to be your friend, not your enemy.) I felt the strings eating and grinding away at the plectrum. As I plodded along sluggishly and coarsely, I contemplated a moment in which I could toss the plectrum and grab a fresh one. The first such moment presented itself between the third Fairy Fingers and the Brutal section. Knowing Paul was going to do his short count-in (two clicks rather than our usual safe four) I could just barely make the switch in time for the Terror. Mercifully, this section went rather well, despite a slightly higher tempo than usual. (Certainly not perfect; maybe not "good" either but then again I wonder if better execution could have made it better music).

There is no describing how grateful I was at arriving at the other end. But then, my new acquaintance of the day, the Moto Perpetuo Demon, manifested itself again, refusing the denial of its presence. I rode the piece out in a mix of duty towards a proper completion and some amount of self-disgust. It is just so difficult to keep working at dismissing these 'wrong' thoughts while the piece is trickling away under your fingers because you lose contact with the actual music. The mechanical aspect of playing becomes foremost in your mind, which is the wrong place for it to be.

My conclusion and learning experience from this take is that, even though the piece was well-practised in certain accustomed and comfortable environments, it did not yet have the maturity to withstand the assault of influences resulting from a variable environment. In other words, the various occurrences of that strange day were not elements that had been successfully integrated and absorbed into the performers' relationship to the piece. This will have to be worked on in some way.

Thanks for indulging me;-)
Nic

Hi,

I would just add the following from my perspective.

As Adrian has related the previous 48 hours were somewhat marred by the realization that there was a risk and finally the almost certain knowledge that Jim would not be able to join us. This put a lot of pressure on Nic, as basically the pillar upon which everything rested. After all I just keep time, so I'll play along with anything. Not necessarily very well, but I'll try.

So Nic now had the general sense that Jim would probably not be able to make it at all. I class that as a lot of pressure, and given the nature of our music, ie that we can make enough noise without bass and can thus continue to play (although we are most certainly incomplete without Jim I hasten to add) and yet the style also inevitably exposes the slightest of errors. Indeed in two decades of gigging I have never had such an experience and so much in the way of adversity.

So with all that said we chose to proceed.

In the event, just as Adrian was about to manfully take up bass duties, Wing Commander Mallonee arrived in the nic (sic) of time. Given that we had no decent monitor mix (something we will rectify, but understandable on the first attempt) and the knowledge that we had a mere 40 minutes in which to cram the numbers which absolutely mandated the full complement of players, we threw ourselves at the songs.

Nothing can quite describe the timing of Jim's arrival, nor the joy/relief felt by all of us.

The recording of the gig, highlights the massive amount of energy that this infused our playing with. Somewhat more pace than was ideal. Also Jim did an amazing job, coming from the daunting prospect of several month's deliberation and time out of his life sitting in adjudication of some pretty horrific crimes, to playing for 40 minutes at breakneck speed, before returning to see if he had picked the short straw (which he unfortunately had :o( ).

In any case, everything was out of order and hurried, so all of the careful consideration put into creating a build up and natural flow, was lost. So we were left with 40 minutes of our most energetic music, with no real soundcheck, no monitor mix, no bass player until the first bar of the first collective number and no time :o)

Strangely enough, although there were plenty of mistakes, it was nontheless exhilerating and I felt that it was perceived and received as if it had been executed far better than it was. And given the circumstances I was happy to have just been in the position of being able to play with Jim present. So I think we did well.

I think the cure for Nic's problems is simply to have a "normal", if such a thing there be, gig, which has a good monitor mix, and a complete complement of players for the duration. The circumstances were not conducive to the delivery of music which requires vast amounts of concentration in it's execution.

In summary, Nic is somewhat harsh on himself, although I agree we can, and will, do far better in future.

The high point of the gig for me was actually Red, which we failed to record and which felt great. After listening/seeing KC's version on Saturday, I actually prefer our own version. That sounds like sacrilege I guess but on the positive side is an indicator that the the music has stopped being just a cover and is, in it's form as delivered by us, something which has something of "us" in it. It is very different to KC's current incarnation.

Anyway, I have my kids here and I should spend some time with them :o)

Catch you later, and also thanks for the good wishes Mark. They were very much appreciated.

Cheers
Paul

I guess it is my turn to chime in ...

I tend to focus on what is good in any situation, with the full knowledge that we live in a harsh universe. And I have to say that I felt very good about our performance, especially under the trying circumstances. There were several places in FraKctured where I went completely blank, and my timing was a bit off in some places. But, as usual, I was amazed that I was able to play it anywhere near correctly, and even more amazed by Nic's performance, which has always driven me to push my abilities and honor the strength of
the music.

We managed to form a large FraKctured-shaped blob of music in the air. I consider that an accomplishment.

With this one i want to compliment for the work done freely for people , like me, who would like to play this masterpieces. Probably, i will never be able to do it, but at least i could have a sense of what means being so virtuous.
Thanks a lot
Antonio

=====
Antonio De Honestis

In a message dated 06/09/2001 11:13:15 PM Pacific Daylight Time, webmaster@FraKctured.ukf.net writes:

I have constructed The FraKctured Zone, a web site devoted to Fracture & FraKctured, and I'd like to ask if you'd be willing to put a link to http://www.frakctured.ukf.net somewhere at ET please.

I hope that this is acceptable and thank you for your attention,
Kind regards,

Mark,

I've been terribly remiss with ET Web updates of late and I'm finally getting new stuff added that has been lingering in my todo folder. So this will be up this weekend on the main page.

Thanks for your patience and good job with the site.

Dan
ET Web

Thanks Dan and a warm welcome to all who visit via ET.

Webmaster

Hello Jakub and Mark,

As promised, attached are the final modifications. I didn't get around to listening and editing until today. Most of Jakub's additional comments fortunately were easy to ascertain, except for bar 81 which I found remarkable. Much shuttling with the CD and looping the particular phrase (at 3'54") to convince myself of the notes. It still sounds a little odd to my ears, but then I've been playing it in error for about half a year and hey, the whole of FraKctured sounds odd to most ears ;-). Many thanks for the scrutiny and particularly that observation Jakub, it's kind of a thrill to "discover" something in a familiar piece of music.

I think this should be it now, at least until someone else comes with some baffling observation in the future. Fractal is committed to playing it thusly henceforth, hopefully evidenced by plenty future mp3s.

Thanks so much again for listening. BTW if either of you ever happen to travel through our area, please consider yourselves warmly invited to a session with the band.

All the best,
Nic

Thanks Nic for this excellent work (please note that the relevant pages of this site have now been updated with the final modifications) and I'm delighted that, in accord with our 2nd aim, the Zone has been able to act as a conduit for these discussions and analyses.

I look forward to hearing more mp3s and I hope it won't be long before you post news of a public performance of FraKctured by Fractal.

Good luck!

Webmaster

Please note that the Tabs page of the The Frakctured Zone has now been updated with Jakub's revised file.

Webmaster

Hi Mark,

(Hope this note finds you well. I've noticed the recent updates to the FraKctured zone - glad to see the site is growing!)

I've been meaning to write to you earlier about what follows, but various excuses had thusfar kept me from doing so (mainly hesitation to present comments offhand without substantial and fairly accurate example). It's about the posted transcription (and associated MIDI file) of FraKctured. I believe there is a layer of complexity in the piece that is not captured in the transcription. I prefer to describe it as a missing layer (rather than "a bunch of notes that are wrong", which would be far more trivial) because when included, it brings a lot of additional coherence to the piece, in particular how the Moto Perpetuo sections lead (less seemingly arbitrarily) into the Fairy Fingers sections. Plus I experience the additional depth as something profound and essential to the piece, adding to the suspected quality of a masterpiece (as far as I am able to judge from my limited vantage).

If you had already detected this all, feel free to disregard. (BTW - I do believe Markus' tabulature transcription does capture what I'm talking about). In order to facilitate discussion, I am sending you attached a modified MIDI file, as well as a CakeWalk ScoreWriter file and a pdf with the modified notes annotated. Finally I've attached a table overview of all edits (which served mainly as my keeping track of them). I believe some explanations might help, so here goes:

The notes I am referring to are localized in the Moto Perpetuo sections. For convention's sake, let's agree that the arpeggios comprise a continuous counterpoint of a top or melody line (which we could call 'melody'), and a bottom line (which we could call 'ostinato' or some such) consisting of two notes alternating at a second interval. The discrepancy I'm referring to applies (only) to the ostinato line, and is prevalent in all the descending cadences, but also manifest in a way in the 'ascents'. In short, what Andrew Keeling conveniently refers to as "parallel arpeggios" - my point being that they are not parallel at all.

A good illustration is the following. In bar #37 of your transcription, the arpeggio pattern as a whole step-descends in semitones, in a 'parallel' manner. What I hear in the original however is that only the melody line steps down in semitones, but the ostinato first steps down three semitones, then steps up by one, then down three semitones, then up one. (I refer to this as a "non-parallel-descent" in the table).

This occurs on all descents as said, but implies on some occasions (where the melody steps down two semitones as e.g. at the 15th note of bar #51, the ostinato previously having descended by three semitones, will actually stay put at that point. I refer to these as "non-parallel descent, modulated" in the table.

Finally, where generally the opening arpeggio is made up of (in whole tone intervals, forgive the unconventional notation here) -2, -1, tonic, +1, +2 (the first two being the ostinato, the last three the melody) - the following happens generally throughout the piece:

A) At the beginnings of Moto Perpetuo sections:
- first modulation of melody and ostinato both is up by a whole tone
- second modulation of melody is up by a semitone but ostinato moves down by a semitone the latter creating an arpeggio of -2, -1, tonic+1, +2, +3

B) At or near the endings of Moto Perpetuo sections:
- first modulation of melody is up by a whole tone, but ostinato remains on the same notes
- second modulation up by a semitone, maintains the -2, -1, tonic+1, +2, +3

What happens in B) is in my belief what creates a necessary tension in the notes leading up to (and finally being resolved by) the ensuing Fairy Fingers section.

To conclude I'd like to say that all this is presented a) in the spirit of hoping to contribute positively to the already formidable achievement on your part and Jakub's in transcribing the piece, and b) because I just can't help it;-) I hope you can find some truth to all of this. I reserve for the notion that I might not be 100% correct (in fact I hope not - I couldn't live with myself if I were;-). Please let me know what you are able to verify / acknowledge / disprove etcetera - I would appreciate the feedback.

Thanks very much for listening..

Kind regards
Nic